Synopsis
Los Rubios is a film directed by Albertina Carri, daughter of Roberto Carri and Ana María Caruso, intellectuals and revolutionary Peronism militants, disappeared by the last ecclesiastical, civic, military dictatorship that crossed Argentina, when she was just four years old. Los Rubios appears to be a classic documentary, where a daughter tries to reconstruct her parents´ figure and celebrate their memory. However the movie is much more complex. The strategies used by Los Rubios to subvert the expectations of a person who is faced with a film related to a violent political event from which information and categorical judgments are expected are constant duplication, the mirror game between reality and fiction, the raw record together with the fictional staging, and the singular memory decomposed in the multiple possible ways of representing it. Rather than recovering the figures of her parents, Carri stages the impossibility of cinema to reconstruct the irreparable.
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.
