Argentina’s Tamae Garateguy, Sant Giralt, Camila Toker Reunite on ‘Upa! A Spring In Athens,’ a Gleefully Defiant Feature Selected to Open Bafici

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Argentine artists Tamae Garateguy, Sant Giralt, and Camila Toker join forces once more for the fourth installment of their witty and contemporary Upa! Saga titled “Upa! A Spring in Athens” (“Upa! Una primavera en Atenas”). This new chapter will have its world premiere as the opening film for the 26th edition of the Buenos Aires International Independent Film Festival (Bafici), taking place from April 1st to 13th.

This film titled “Los Griegos Films,” co-produced by Giralt and Fede Carol, Garateguy, upafilms by Giralt and Toker, and Hildegunn Wærness as associate producer, presents a satirical perspective on the independent film industry. Filled with biting wit, dreamy introspection, and somber moments, the story unfolds in a world crafted by these three creators that stretches across decades. The characters, Ailén, Nina, and Pina, portrayed by their on-screen counterparts, navigate the intricacies of the industry, encountering one disappointment after another while examining every trope, bruising every ego, and subtly referencing each indie cinema stronghold.

At an early stage, the concept for the story was a straightforward and self-contained idea that stemmed from their shared ambition to make their debut films. They happened to cross paths multiple times as they both explored various clinics and workshops to launch separate projects. Eventually, they joined forces on a collaborative project — portraying the chaotic lives of three up-and-coming filmmakers working on low-budget productions through their own experiences.

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In the beginning, the narrative was a basic and self-sufficient idea born out of their shared dream to create their first movies. They kept bumping into each other at clinics and workshops while pursuing distinct projects. Ultimately, they teamed up on a joint endeavor — using their own lives as inspiration to depict the tumultuous journeys of three budding filmmakers working with limited resources.

In a conversation with EbMaster, Giralt explained that we mutually agreed it was time to step out and start the project, driven by the thought that the initial film doesn’t need to be flawless or groundbreaking – it simply needs to be the one that gets things going. Inspired by this notion, we ventured out to shoot, experimenting along the way. Our first collective decision was for each of us to use our personal cameras and create a self-portrait of our characters.

This series started back in 2007 with “Upa! An Argentine Film,” which also debuted at Bafici. After eight years, “Upa! The Return” was released, and more recently, we’ve seen “Upa! An Argentine Pandemic.” These films explore the challenges of creating art in a world that craves it yet often fails to provide the necessary support, while also reflecting on the broader cultural context that shapes the stories we consume.

These films share a similarity to Richard Linklater’s “Before” trilogy and incorporate elements organically from the Dogme 95 Danish avant-garde movement founded by Lars Von Trier and Thomas Vinterberg. The movies are fundamentally simple, capturing moments in time like a time capsule, filled with images of a specific scene and the fascinating personalities that reside within it.

In that period, we encountered some inherent challenges within the Argentine production system, one of which was the widespread aversion towards using video technology. This was because most people preferred traditional filming methods at the time. We made do with small cameras, those used for capturing birthday moments. It felt like disregarding conventional modesty in that context.

‘Upa!’ serves as a commentary on these film scenes, our nation, and our community. It not only explores the progression of the characters’ stories, but also mirrors our personal journeys because the settings are familiar places, and the cast resembles our own children. Therefore, it offers more than just a journey through time; there is an emotional connection, a sense of nostalgia,” Garateguy explained.

Currently, these two actors have starred in over 25 movies collectively. Their latest collaboration, set in Greece for Pina’s new project, serves as a fascinating reflection of life imitating art. The incentive for filming there includes substantial tax breaks and searching for optimal shooting locations throughout the country. This time, the narrative adopts a somber and unconventional feel, subtly addressing the culturally barren political regime led by Argentine President Javier Milei, which is actively attempting to suppress the national film industry. As a result, talented individuals are forced to work overseas in more economically friendly locations instead of nurturing their creativity domestically.

In the filmmaking industry, there’s a strong sense of national pride as we contribute to our country’s cinema. Argentine cinema once flourished and gained significant international acclaim, but now it seems to be fading due to a decrease in film production. This makes one wonder, what defines Argentine cinema today? I believe that genre films such as horror, comedy, and even westerns will lead the cinematic resistance movement in Argentina.

Exploring themes such as sexuality, identity, aging, and mental struggles, Ailén, Nina, and Pina challenge traditional norms in this film. The directors skilfully hand over control, allowing these characters to narrate their own stories. They courageously confront a setting of misunderstanding to counteract the powers that seek to mute the voices of an imminent revolution.

Or, more concisely:

Ailén, Nina, and Pina are characters who challenge societal norms in this film. The directors empower them to share their unique stories, standing against a backdrop of ignorance to amplify the voices of an emerging revolution.

As a cinephile, I’d express it like this: “I didn’t choose to identify as queer or anti-fascist; these are aspects of who I am. In the films I create today, I emphasize that just existing in our diverse identities can be a powerful form of anti-fascist resistance. My characters live freely and authentically, reflecting the world I want to see. This may seem countercultural or even revolutionary to some, but it’s simply about celebrating and embracing individuality.

As a movie reviewer, I must confess that the character Pina challenges conventional norms – she’s not the typical heroine we’re accustomed to seeing on screen. Instead, she represents an alternative identity, a ‘differentness’ that some might struggle to categorize or accept. In essence, her presence seems to unsettle those who desire a neat binary classification, and unfortunately, there are those who wish to suppress this unique voice.

Giralt noted that he found it surprising to find ourselves in an era where we’re required to protect the rights we currently possess, rather than expanding them further. In the U.S. and Argentina, we are now at a point where preservation is necessary.

As more people embrace independent and diverse films, as seen with Sean Baker’s “Anora” winning at the Oscars recently, and with a growing desire to escape the monotony of algorithms, musicals like “Wicked” and “Emilia Perez,” praised for their fresh take on the genre, are gaining popularity. The “Upa!” universe seems poised for success, perhaps even ahead of its time, as it has been incorporating these innovative elements long before they became trendy.

In the latest installment, viewers can anticipate a breathtaking transformation, an amusingly intricate plot of revenge, gracefully incorporated musical sequences, and the expansive conclusion that the series is famous for, opening up possibilities for the characters to carry on their narrative without end – showing no signs of retiring their determination to reveal the struggles and tribulations of artists in a state of change.

In a playful manner, Garateguy remarked, “The world of ‘Upa!’ is vast, teeming with unique characters. There’s an opportunity for it to expand, potentially finding a platform that supports and funds us temporarily. ‘Upa!’ has the potential to evolve into anything truly remarkable.

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2025-03-21 15:48