The two are named Laura, and the two have been friends for a long time. And, in addition, they shared the writing of the script of Trenque Lauquenthe movie he directed Laura Citarella and stars Laura ParedesMember of lava skinand which opens internationally this Thursday at the venice festival.
It does so in a parallel Orizzonti section, and it has the particularity that, due to its duration (4 hours), it occupies two “slots” or spaces in Orizzonti, that is, when they selected it, they left another production out.
Furthermore, Laura Paredes was already at the Mostra: on Saturday, at the screening of Argentina, 1985since she embodies Adriana Calvo, whose heartbreaking testimony was followed in silence in the enormous Sala Grande, We spoke with the two Lauras of Trenque Lauquenand also the passage of Paredes in the competition for the Golden Lion with the film starring Ricardo Darín and Peter Lanzani.
Director Laura Citarella says that “From the beginning we knew it was going to be a long film.” It’s 4 hours.
-“Trenque Lauquen” is an ambitious project, not only because of its duration of 4 hours in total, divided into two parts, and which will include an interval. Had you already planned it that way, when you started to germinate the idea?
Laura Citarella: We knew from the beginning that it was going to be a long film. Too many things already happened in the script, but I was never sure what that duration was going to be, or how the film was going to be projected. We came very naturally to the current structure, which consists of two films. Two films that need each other, but do not strictly depend on each other.
“Laura (Paredes) is the person to whom I have consulted everything,” says director Citarella.
-And how did it come about that you co-wrote the script with Laura -Paredes-, who is the protagonist?
-Citarela: I began to develop the treatment of this film, which I had been thinking about since before starting The woman with the dogs (2015, which he co-directed with Verónica Llinás), to present it to a Dutch fund. It was a movie that she had been fantasizing about, that we had been talking about, but that she knew was missing a lot. The idea of writing with Laura seemed good to me. Not only because she could enter from her experience as a director and playwright, but also because she is the lead.
Paredes says that “Laura (Citarella) likes me to watch the scenes, and understand what is happening in the shot.”
-And what do you feel that you contribute to the writing, in the development of the script?
-Laura Walls: With Laura we are very close friends and Trenque Lauquen It was a project that we were thinking about and rewriting in parallel to the shooting. I believe that the fundamental contribution has to do with this work dynamic. With not becoming an actress in the film but the person with whom she was thinking about the plot and the structure of the film. We always watch the shots together.
I always loved that about Laura. He likes that I watch the scenes and understand what I am acting, or what is happening in the shot. Somehow, we are both thinking in cinematic terms and that is not very often. Actors don’t always have that opportunity with directors.
Seven years ago, Verónica Llinás and Laura Citarella spoke with Clarín about “The Woman with the Dogs”. Photo Martin Bonetto
-You had co-directed “The Woman with the Dogs” with Verónica Llinás, I have a feeling that you like to work, have actresses participate in the assembly and completion of your films.
-Citarela: Having also had the experience of working with Verónica, I think this idea of having those who act in a film write or structure their own texts works very well. There are other keys to thinking and another way of looking at writing. I think it helped us to find materials, testing them.
There is something there that is very much alive and that I suppose was better for me than being in a room writing alone. Laura from that became, not only the actress and co-writer, but the main partner of this film, the person to whom I have consulted everything.
Already in “Ostende” Laura Paredes composed the same character that she now has again in “Trenque Lauquen”.
– Is it a sequel, or continuation of “Ostende”, but in another location? The main character is the same.
-Citarela: This whole project is a great saga. That is also why Laura is the actress. Yes it is the same character Ostend, in a new fictional universe, in a new locality in Buenos Aires. Let’s say certain procedures are repeated, but everything around the character is renewed and, in fact, does not exist Ostend as the past, rather than by some minimal citation. It’s a way of continuing to shoot the same movie over and over again, as time passes and we all get older.
-Laura, your husband is an actor and producer of the film, and you (Paredes), are an actress and partner of Mariano Llinás, producer. And there is Verónica Llinás. All very familiar.
-citarella: Ezequiel (Pierri), my husband, is an actor and producer of the film (the latter, together with Ingrid Pokropek). Laura is my friend, and she is married to Mariano, who is my partner at El Pampero Cine. And yes, in addition, my brother, my mother, my grandmother act. It is a structured film – speaking strictly of the production – around the figure of the family.
“The film is about how from an episode -a woman who has left-, everyone has versions. Nobody is right”, says Citarella.
There is something about that that allowed it to be possible. Let’s say that filming for five years, requiring the perseverance of so many people, would have been impossible in an unfamiliar scheme. Something about not stopping thinking about the movie. Neither inside nor outside the house, it allowed it to become a very collective process, with a lot of collaboration and participation from everyone.
-Walls: I think that one of the peculiarities generated by a shoot that is sustained for so long is that the production conditions are lax to make it possible. Many times we went to film with the children, with the family to take care of our children. And well, that chaotic dynamic, of mixing work with personal life, also generates its own language and therefore its uniqueness.
-Give me an example.
-At one point it was decided to film a new structure that involved one more year of work and filming, and that was being done as best it could. Many times, on weekends or several short trips over the course of months, something that would be impossible in a more classic work structure. And you can’t sustain it either if there isn’t a way of thinking about production incorporating those fraternal schemes, which is what El Pampero cine has always tried to do.
-Why did you think of Trenque Lauquen? Does it also have to do with your family?
-Citarela: Trenque Lauquen is the town where my family comes from, where today my grandmother, my uncles, my cousins live. It is a much loved place, where I spent all my childhood summers. In addition, there I filmed a short short stories (three together) in 2007 and it is where we also filmed many other films for El Pampero Cine. It is a familiar city, dear, that in these five years of filming has given us a lot to make this film exist. There is, I think, another key to the familiar.
The film, after passing through the Mostra, will go to the New York and San Sebastian Festivals, among others.
-What topics did you want to address in the film?
-Citarela: The film is about how from an episode -a woman who has left-, everyone has visions and versions of the events. Everyone is wrong. Nobody is right. And at the same time everyone is a little right.
-In addition to Venice, the film will go to the New York Film Festival. What does all this generate for you?
-Citarela: Yes, and also to San Sebastián and to some festivals that are still being confirmed. In principle, everything makes me happy because it is not only about carrying Trenque everywhere, but about closing a long stage of work.
-And when would you premiere in Argentina?
-Citarela: The premiere in Argentina is still being considered.
On the red carpet of “Argentina, 1985”. Laura is the first on the right.
Laura at the “Argentina, 1985” gala
-You play Adriana Calvo, who gives an impressive testimony as in real life, in “Argentina, 1985”. How did you feel seeing yourself on the screen in the Sala Grande, with that deathly silence from the public when your character gives her testimony in the Judgment?
-Walls: the premiere of Argentina, 1985 it was very exciting. Almost as much as the day of shooting the testimony. For me, sitting in the same room where Adriana Calvo changed the course of the trial and having to say her words was one of the most moving moments I experienced as an actress. It was a great catharsis for all of us who were there.
The entire technical team and the other actors were recreating an almost sacred moment. And at the premiere I felt that same tremor again. An audience once again heard those words that were the symbol of horror and, in turn, of profound courage. In that sense, there is something in Adriana’s speech that becomes almost a moment of communion.
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Reference from clarin www.clarin.com