Cecilia Barionovo, the first woman to lead the artistic direction of the film festival "Mar del Plata" since its founding in the fifties, praised the virtues and characteristics of the event that begins today, "offering a thousand possible routes, as programming works organic."
Of the 277 films, the program is divided into several competitions, informative displays, retrospectives and parties, as a result of a year of work in which a large team put this difficult puzzle. Screening of the film "Soenio Florianopolis" by director Anna Katz will mark the beginning of the evening.
The main goal of the festival is to program a good cinema, how to face the challenge this time?
– On the one hand, the holidays allow to receive the great stars and symbols of the cinema, but also be attentive to those guests who come and are unknown, and perhaps in the future. One feels a different aura and this is the key to being attentive to the new, to discovery.
– Programmers of the festival are the guides of the public?
– There are some things that come into play. I think it's related to what you take from what is already known. More than guides I think we do fabric by weaving a tape with another track, tracking that they form a kind of mesh, tissue that produce tensions, ribbons related within those parts or with others.
– out of good choice depends on that you can choose randomly without fail?
– Mr. Del Plata you have suddenly armed your movie network, you get to see one of them and you are surprised that there are no more entrances or you do not get from one room to the other that stays you listen to what the director said at the end of the screening but there are always alternatives. Mr. Del Plata has a large public that has grown over the years.
– At what point during programming does someone say out loud that something is left or missing?
We worked together for many years, researching and choosing all of them together. This is a balance achieved as we succeeded.
– Is it like putting together a puzzle?
-The programming is like a montage and in a movie to put a scene or it does not change the result. Put a movie or you can not change the balance. We see programming as a whole.
The programmer has to think about the armed potential that the public is going to …
This year the festival offers thousands of possible routes. Programming works more organically, like a system. The amount may give you more options, but this year we feel that the whole quality is very good.
– How to bid this year?
In addition to the well-known managers and innovations to discover, we work a lot on contemporary cinema and the history of cinema. I think it also creates other tension lines, because watching contemporary cinema is part of the history of cinema.
If it was public, what would be its network?
– Everything has a lot of coherence. In my case I was aiming a lot at all this cinema in a small 8 and 16 mm small format, I like it because it creates unique experiences in filmmaking and new authors, where there is impossible as Raoul Perrone or little known here, like Patricia Mazuy.
– What is the desire of the group today?
– We are very pleased that it is starting and being able to share it. This year visitors, critics and programmers from other festivals also come, giving a different kind of dimension and power to the festival, the only class in Latin America.
– Are comparisons with other festivals uncomfortable?
– When you schedule a festival like this, you have to put it in a position, where it is going to be done, when, to whom and who is going to be made. There is here and now and now we have to remember. You can not think of festivals in abstract, with abstract films, as isolated entities. From there you can work for the festival. And so we did.