Laureled way back in 1995 for her short “Dead King” in feature anthology “Historias Breves,” a Sundance/NHK Award winner for the screenplay of her debut feature “The Swamp” in 1999, Argentina’s Luc…
of economic crisis capped by COVID-19, and because of the festival that gives it. It may be special too for Locarno. If any filmmaker were to embody the films that Locarno has championed and loved, it may be Martel, a filmmaker who always questions received wisdom, but whose films have a visual power to entrap the spectator while she does so.
Argentina’s state film incentives have been hit hard by economic crisis, exacerbated by COVID-19, which has decimated Argentina’s Incaa film institute funding sources. Does that make this prize particularly important? Or maybe the prize has other importance as well? “Chocobar” has been described as unraveling “the 500 years of ‘reason’ that led to this shooting, both with a gun and a camera, and contextualizing it in the system of land tenure that emerged across Latin America.” Could you comment very briefly?
You talk in your presentation on the Locarno Festival website about the film being about “the impossibility of seeing others,” which can be related to a colonial mind-set you explored in “Zama,” but still resonant in the present day. Again, could you comment?
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