As a cinema enthusiast who has spent years traversing the rich tapestry of global film industries, I can’t help but feel a profound sense of concern for the current state of Argentine cinema. The vibrant and diverse cinematic landscape that once thrived under various political administrations now teeters on the brink of collapse due to the draconian measures enacted by the current government.
At significant film festivals worldwide since January, there’s been an ongoing tradition where Argentine film professionals and their global advocates gather for a demonstration, which was spearheaded by the San Sebastian Film Festival. This protest aimed to express solidarity towards the struggling audio-visual sector in South America.
The demonstrations have arisen due to harsh policies implemented by the conservative administration, headed by President Javier Milei, who assumed office in December of the previous year during a skyrocketing 200% inflation period.
Shortly following his assumption of power, the administration led by Milei made the decision to withdraw funding from the country’s film-TV institute, INCAA. This move had detrimental effects on national film festivals such as Mar del Plata and federal support for domestic film releases, state-run cinemas, film schools, and more. Additionally, it put at risk the prominent Buenos Aires film and TV market, Ventana Sur, a collaboration between INCAA and Cannes’ Marché du Film, which is scheduled to take place this year in Montevideo, Uruguay.
In front of a lively audience who were singing a song of protest and rhythmically clapping in sync with him, festival organizer José Luis Rebordinos stated: “The San Sebastián Film Festival wants to show support for the Argentine film industry, given the unusual circumstances it’s dealing with. These include the halting of numerous projects, the scarcity of content from INCAA, and the actions being taken by the current government that threaten not just its film industry, but also other aspects of its cultural expression.
He emphasized that the festival’s involvement did not encroach upon Argentina’s political matters: “For many years, we have worked alongside INCAA, which has been governed by diverse political parties – be they conservative, liberal or Peronist. Under each of these administrations, unique in their characteristics as defined by the Argentine people, the film industry has flourished, emerging as one of the most prominent in Latin America and casting a positive light on the country while fueling its economy.
In addition to our own film industry facing challenges, other regional countries’ cinematic sectors are also experiencing difficult times, as pointed out by Rebordinos. He specifically mentioned Venezuelan filmmakers who are finding it tough to thrive after leaving their homeland.
It’s essential that film industries, particularly those in Latin America, avoid being influenced by political prejudices. Our region often lacks stable government policies, which can empower the current administration to dismantle significant film industries such as Argentina’s. This industry plays a vital role not only in our local history but also in international audiovisual history. Cinema is a collaborative effort, and this is demonstrated by the robust participation at San Sebastián, where several Chilean films are co-produced with Argentina, and others are currently being developed,” emphasized Gabriela Sandoval, a producer and co-director of Chile’s renowned Sanfic festival. Her film, “Maybe It’s True What They Say About Us,” which is a Chile-Argentina-Spain co-production, will be showcased at Horizontes Latinos.
Additionally present was Daniel Dreifuss, a Scottish-born Brazilian film producer, whose “All Quiet on the Western Front” won four Oscars last year. In an interview with EbMaster, he expressed: “Anyone who values culture, diversity, and people’s voices would likely suffer from PTSD following the Bolsonaro years.” He further emphasized: “However, it’s crucial to remember that his worldview lingers on. We must stay alert in Brazil, Latin America, and globally to safeguard democracy and culture.
Mindful that these acts remain symbolic and will unlikely sway Milei’s government, Argentine Academy president Hernan Findling told EbMaster that INCAA is “alive but recovering.” “It will only be supporting films that attract at least 10,000 admissions, which could help medium to large producers, he said, adding that auteur filmmakers are in jeopardy. “They are lowering inflation but at the cost of culture, education and health,” he said, adding that there are bound to be few Argentine films out next year.
Previously leading the Mar del Plata festival, Fernando Juan-Lima – currently serving as a juror for San Sebastian’s Horizontes Latinos sidebar – announced his resignation along with his entire team. He mentioned that there has been no replacement at the region’s sole Category A festival to date. Juan-Lima praised the progress the festival has made in recent years, noting that director J.A. Bayona had even expressed a desire to return and cover his own expenses. Juan-Lima added, “That’s something money can’t buy,” before expressing optimism about the quality of films still being produced, with an increased variety of genres and more female filmmakers participating, as well as reminiscing about Argentina’s time when it produced over 200 films per year.
This year’s 72nd edition of the festival features a lineup of 16 films, some or all of which were partially or fully produced in Argentina. These films can be found in various sections such as the Official Selection, New Directors, Horizontes Latinos, Zabaltegi-Tabakalera, Movies for Kids, and the documentary “Traslados.” In addition, the festival’s Industry section highlights six Argentine projects chosen for the Europe-Latin America Co-Production Forum, two works in progress within WIP Latam, and one project involving an Argentine producer through Ikusmira Berriak.
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2024-09-24 20:17