Synopsis
Three women meet by chance in the very end of the world and start a life-changing polyamorous journey that takes them back to their home cities as different persons, maybe the persons they had always wanted to be.Subjects that suffer when facing the established order, the irreversible passion and the Utopian quality of a single love, unwind as they search for new ways of relating, far from possession and pain as the inevitable end to a love that fits no canon. The journey along the routes and through time turn, in Daughters of Fire, into pure joy, rivers of pleasure and fun. Violeta tells us through notes and thoughts about a possible film she wants to make, the adventures of the daughters of fire: a band devoted to accompanying women in the search for their own erotica and for a way of being in a world that does not recognize the voluptuousness of detachment..
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.
