Synopsis
I am following in the footsteps of Isidro Velázquez, Argentinas last rustler. But, as the search for lost time is always erratic, am I really going after that fugitive of the bourgeois justice? Or am I going after my own footsteps, after my own heritage? So I travel to Chaco, to Cuba, seeking for a missing film. I also dig into film archives looking for moving corpses that could return to me something that was gone too early. What am I looking for? I search for movies, also for a family - of living and of dead. I seek a revolution, as well as some justice. I look for my missing mother and father, their remaining bones, their names, what they left on me. I realise I am making a western with my own life. I seek a voice, my own voice, through the noise and rage of those lives shattered by that same bourgeois justice that was looking for Isidro Velázquez.
Director's bio
Albertina Carri is a fundamental figure in current Latin American cinema. She is characterized by its versatility and constant research in different genres. She has explored both the black cinema and the documentary –in its limit with fiction–, the pornographic melodrama or the family drama, using techniques that go from scratching to genre cinema, passing through found footage, animation and observation documentary . She was born in Buenos Aires in 1973 and studied screenwriting at Universidad del Cine (FUC). She directed the films I won´t go back home (2000), The Blonds (2003), Gemini (2005), The Rage (2008), Rustlers (2017) and The Daughters of Fire (2018) with which she participated in the Film Festivals of Cannes, Berlin, Toronto, San Sebastian and Buenos Aires, among others. She was the artistic director of the first three editions of the Asterisco International lgbttiq + Film Festival of Argentina, in which she currently works as a programmer. After The Blondes, a film that stands as an unavoidable story when thinking about the forms of the representation of memory and history, Carri once again investigates historical and personal memory, with Rustlers, staging scraps of film archives and questioning through the images of the past and a powerful voice-over, the legacy of violence that our country still carries. The Rage, through the devices of fiction, is a film that reflects on the naturalization of violence and the hierarchy of languages and an avant-garde film of feminist discourses that would become massive with the Ni Una Menos movement. But although in that film those speeches revealed oppression from the traumatic, in her latest feature film The Daughters of Fire, where walking along the routes, through time and through life, becomes for the protagonists pure enjoyment, it is the celebration that embodies the political vitality of this story that takes pleasure and fun as possible ways of life to combat oppression.
