As a film critic who has spent years immersed in the complex tapestry of Latin American cinema, I must say that “Concert for a Single Voice” is a poignant and powerful addition to the genre. This moving tale, set against the backdrop of Peru’s tumultuous past, resonates deeply with my own understanding of the intricate web of truth, ideology, and familial bonds.
In December 2007, Nicolás, who is in his early twenties, stands on the brink of a promising future. He’s affiliated with Europe’s top-tier student community, residing in Paris and preparing to pursue a master’s degree in architecture in London.
Later, during “Concert for a Single Voice” by Alejandra Carpio Valdeavellano from Peru, the character is unexpectedly confronted with his past. It’s just before Christmas when he receives news that his mother Diana has been freed in Lima after spending 18 years imprisoned due to her affiliation with an organization that fought against the Peruvian government.
Nevertheless, Nicolas has obtained the family home in Lima, which could provide funds for his education. He merely needs to travel there and sign a few documents, but this entails confronting Diana once more. The mere thought of Diana stirs up resentment within Nicolas due to her prioritizing political ideals over motherhood. In anger, he accuses her, “You claimed to be striving for a better life for Peruvian children,” he retorts. “Why didn’t you strive for something BETTER for ME?” At last, Nicolas voices his long-suppressed wrath.
“This week at Sanfic Industria‘s Ibero-American WIP, ‘Concert for a Single Voice’ will be showcased. This production features 10 titles currently in post-production from Latin America and Spain. The story explores the impact of collateral damage on the families of activists who opposed Peru’s government forces. It sheds light on how the repercussions of this conflict continue to ripple through society today.”
In the heart of our conversation, Nicolás reprimanded me, and Diana shared her perspective on joining a terrorist organization – “I couldn’t stand by idly amidst so much pain,” she expressed – “Symphony” seems to imply that everyone has their reasons: No one is entirely wrong. Perhaps, if they are somewhat wrong, it might be due to lack of knowledge or information.
“Regardless of the many factors that may seem to divide us, people have an extraordinary ability to connect, even when we appear vastly dissimilar or hold strongly contrasting beliefs,” Carpio shares with EbMaster.
Hailing from Invisible Producciones in Peru, the movie “Concert” features Denzel Calle (“Mont Blanc”), based in Paris, Monserrat Brugué (“Princesas”), and Paul Vega (“La Restauración”). Funded by Ibermedia and Peru’s Ministry of Culture, producers Norma Velásquez and Carpio are collaborating with Cyriac Aurial from Rémora Films in France to secure financing for the completion of the film and also plan a premiere in Europe.
In the lead-up to Sanfic Industria’s Ibero-American Work in Progress, starting August 20th in Santiago de Chile, EbMaster had a conversation with Carpio.
The piece titled ““Concierto Para Una Sola Voz”” seems to contradict its name by implying that multiple individuals may possess valid reasons for their actions. No single person holds exclusive rights to truth or understanding, would you like a further explanation?
I believe reality, in general, is usually quite complex. We always find that there are different ways of looking at the past, the facts, at history. But if we talk about an internal war like the one experienced in Peru, the scale of complexity is much greater. In spite of this, in Peru there are various power groups that seek to impose a single truth, a hegemonic discourse of our history. These discourses present a partial truth, make only one side visible, and attack those who delve into the truth. Attempting to speak of a single truth is to deny “the other” (person).
The movie starts off engagingly in France, allowing us to see things from Nicolas’ perspective regarding Diana. Along with him, we learn about her ordeal in prison, which serves as our education on the subject too.
Absolutely. The movie presents us with Nicolás’s journey as he uncovers that the truth he believed was incomplete. Simultaneously, he encounters details that cause him to scrutinize his own past. Furthermore, he delves into his nation’s history from various perspectives, allowing the audience to share in deciphering this intricacy.
In what broader context does your movie fit within Peruvian cinematography? Is it common to find many films in Peruvian cinema that explore the topic of Sendero Luminoso, its members, and their interactions with governmental security forces?
Over the past 40 years, numerous films and audiovisual works have delved into the topic of armed conflicts. However, I contend that “Concert For A Single Voice” presents a unique perspective in today’s context, as it explores fresh angles regarding the conflict. Unlike before, this examination comes from our current standpoint, considering how we relate to the conflict now, how time progresses, yet some wounds remain unhealed. These new perspectives also emphasize more personal narratives, focusing on the familiar, the routine, and the intimate aspects of daily life.
What guidelines did you have for directing “Concierto,” if any?
I aimed to portray a sense of intimacy with the characters and depict situations that felt authentic and relatable, particularly when it came to family disputes. Family interactions often involve commonplace details like meals, humor, minor compromises. My goal was to highlight these everyday aspects.
Could it be said that a fresh wave of female filmmakers is making their mark in certain Latin American nations, like Brazil? Is this also happening in Peru?
Absolutely, Peruvian cinema has seen numerous female directors blaze trails for several decades. In more recent times, Peruvian films have garnered significant international accolades due to the efforts of these talented women filmmakers, including Claudia Llosa and Melina León, among others. I firmly believe that the number of women in the Peruvian film industry is steadily increasing, albeit with challenges, and this growth is largely facilitated by mutual support and partnerships, such as through NUNA, an association of female directors from Peru. The camaraderie and networking among these women are proving instrumental in the production of films made by women. However, there is still a long road ahead before we can claim true representation.
“Concierto” takes place partly in France. How was it financed, however?
The film was almost 100% financed by incentives for cinematography from the Peruvian Ministry of Culture. We tried to get financing in France, but unfortunately, we didn’t get it. Shooting in France was difficult because the budget we had was really low, so we had to make magic to complete the shooting plan there. We even shot in the Paris subway without permits, but we were able to take advantage of the context of the World Cup and the distraction of the security guards in the subway. We had many anecdotes, all for the love of cinema.
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2024-08-20 18:47