As a cinephile with a penchant for unraveling intricate narratives, this week has been nothing short of exhilarating. The world premiere of “Marco” by Basque directors Jon Garaño, Aitor Arregi, and Jose Mari Goenaga at Venice, and their subsequent inclusion in the Spain’s Oscar entry shortlist, has sent ripples through the film community.
This past week has been successful for filmmakers Jon Garaño and Aitor Arregi (Basque directors), together with Jose Mari Goenaga. They unveiled their movie “Marco” at the Venice Film Festival and made it onto the shortlist for consideration as Spain’s entry to the Oscars.
Purchased from Film Factory Entertainment, “Marco” has been creating quite a stir at film markets in Toronto, and will soon be screened in San Sebastian, London, and Vancouver. This movie is based on true events and focuses on Enric Marco, a man who fraudulently claimed to be a Holocaust survivor while serving as the chairman of Spain’s leading association for deportees. In reality, his entire story was fabricated.
Originally, the filmmakers planned to document Marco’s descent, but much like all his endeavors, the truth proved elusive. Marco claimed he was traveling to Germany to retrieve documents from a prison he had previously stayed in. The filmmakers wished to join him and record crucial footage. However, Marco declined because it was too personal for him, too intimate, as Jon Garaño remembers. “We could understand his reasons,” Garaño said. “But when he returned, it became clear that he had actually gone with other film crews who made a different film. This was quite a shock for us.” It turned out Marco had been deceiving them.
In 2005, historian Benito Bermejo revealed Marco’s deception, but the void he left behind – lacking in self-explanation and genuine apology – fostered a complex narrative that resists simplicity. As Garaño explains, “It took us a long time to understand that perhaps the most effective approach was to create a work of fiction.” The film explores the boundary between reality and imagination, suggesting that everything can be blended. This theme of truth is at risk because people can manipulate information, leading you to believe something untrue. To add depth to this narrative, the movie integrates real-life footage from the period, providing an authentic atmosphere. The central character, played by multi-awarded actor Eduard Fernández (“Smoke & Mirrors,” “While at War,” “Smoking Room”), is a demanding role that requires portraying a man with enigmatic intentions. Fernández brings to life a captivating figure, consumed by an obsessive craving for attention.
Arregi describes Marco as a captivating yet mysterious individual, skilled in storytelling but also someone who’d occasionally deceive on significant matters. Fernández excellently portrayed this complex character not by mimicking him, but by infusing his own interpretation. This was essential since we’re narrating our tale about Marco,” (paraphrased)
The directors intentionally incorporate various film styles to underscore the fact that their work is a creation, not reality: “We purposefully mix up formats to show viewers they’re watching a movie, a fabrication. This element of manipulation is inherent in every film, be it a documentary or fiction, and we wanted to explore this concept directly,” Garaño stated.
The uncertainty surrounding Marco’s real intentions provides an opportunity for us to ponder: ‘What prompts us to deceive?’ Garaño explains that Marco frequently justifies his dishonesty with the statement, ‘I lie, but isn’t everyone?’ To a certain extent, he has a point. People are always trying to present their best selves, and filmmaking is a form of manipulation. We aimed to illustrate this by combining various formats and making it unclear where fiction ends and documentary begins.
Having demonstrated triumphs such as “Giant,” “Flowers,” and “The Endless Trench,” this team has refined a collective approach that surprisingly thrives on mutual faith. As Arregi puts it, “We possess an unusual method of collaboration that enables us to rotate and reinforce one another. Being a trio allows us to keep moving forward even when one of us is fatigued. It’s not without its hurdles – we argue and debate frequently – but it also ensures there’s always someone prepared to step up and guide when necessary.
The movie was created by the joint efforts of Irusoin (Spain), Moriarti Productions, Atresmedia Cinema, and La Verdad Inventada AIE.
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2024-09-07 21:46