Home Entertainment the Argentine who won two Oscars has his tribute film

the Argentine who won two Oscars has his tribute film

the Argentine who won two Oscars has his tribute film

The documentary Chango: The light discovers, which opens this Thursday, December 30, reviews the extensive and successful track record by Félix Monti, the cinematographer of the only two Oscar-winning Argentine films, –The official story (1985) and The Secret in Their Eyes (2009) – who defined his work as “fundamentally narrative”.

Directed by Alejandra Martín and Paola Rizzi, the 84-minute documentary collects testimonies from Monti -the Chango of the title-, and many of the directors who worked with him.

Among them, Luis Puenzo, maker of The official story, Juan Jose Campanella (director of The Secret in Their Eyes and his son-in-law, since he is married to his daughter Cecilia) and the late Pino Solanas, regular collaborators of the director of photography of the two Argentine films who took the statuette from the Hollywood Academy.

The Documentary &Quot;Chango: La Luz Discovers&Quot; Reviews The Long And Successful Career Of Félix Monti.  / Photo Télam / Alejandro Santa Cruz

The documentary “Chango: La luz discovers” reviews the long and successful career of Félix Monti. / Photo Télam / Alejandro Santa Cruz

In an interview, Félix Monti (83) reviewed his career portrayed in the documentary that honors him, which will perform at the Cine Gaumont Thursday 30 and Saturday 1 January and will also be available since then on the Cine.ar platform.

Learning and “The Official Story”

-Puenzo says that they learned to film together after being wrong enough, how was that learning?

-We have a relationship since adolescence. When we started in advertising we were inventing every day everything that happened, experimenting. With contrast ratios of light, cameras, lenses, movements. It was all a kind of search without having a goal, to know the elements and mechanics of cinema.

Of course, we went to the cinema and consumed many films that captivated us, but there we began to find the tools that make storytelling possible. We did days of up to 17 hours that allowed us to look for all the possibilities that could be created, imagined or invented.

Norma Aleandro And Luis Puenzo, Upon Receiving The Oscar For &Quot;La Historia Oficial&Quot;.

Norma Aleandro and Luis Puenzo, upon receiving the Oscar for “La historia oficial”.

-The partnership you had with Puenzo later was very important for Argentine cinema, what memories do you have of that collaboration?

-At some point, still under military rule, that drama about appropriate babies appeared that Luis began to develop with a series of ideas and searches. And he started working with Aída Bortnik (co-writer of The official story).

While they were working on the literary structure, I was talking to him about how to build the image of the story. The film was made with more than two years of work until we were able to make it.

Ricardo Darin, In &Quot;The Secret Of Their Eyes&Quot;, Argentinean Oscar-Winning Film.

Ricardo Darin, in “The secret of their eyes”, Argentinean Oscar-winning film.

-Puenzo also said about you that “photography is not your subject but the story”, do you think it is a good definition for the role of a cinematographer?

Photography is, fundamentally, a narrative. The search is how to build an image by thinking of it as a narrative. The forms of inspiration were photographic but many times they were literary. (The French writer) Gustave Flaubert has a lot to do with my development of how to think about something.

The music too: everything that tells a story, or how to tell it, is what interests me the most. The search through light as the construction of an image; not simply to show something and illuminate it, but to build.

Juan Jose Campanella And The Oscar For The Secret Of Their Eyes.  Afp / Clarín Archive.

Juan Jose Campanella and the Oscar for The secret of their eyes. AFP / Clarín Archive.

When times change

-How did the technological transition turn out in terms of your work?

-He changed in terms of the means of capture, but not fundamentally. It is different with respect to the 40s, 50s or 60s: the technical elements force an aesthetic structure due to the sensitivity of the material and the intensity of the light body to be used; all that is guiding you to a path. But the fundamental thing, which is to tell a story, remained. They changed the machines, the elements.

Soledad Villamil And Ricardo Darín, In &Quot;The Secret Of Their Eyes&Quot;, A Film By Campanella, With Félix Monti As Director Of Photography.

Soledad Villamil and Ricardo Darín, in “The secret of their eyes”, a film by Campanella, with Félix Monti as director of photography.

-As for the possibilities of studying, do aspiring filmmakers have it easier now?

-Yes. Now it is easier, much more direct and complete. My training was to chase my teachers, follow them from behind and see how they built a structure. That accompanied him with personal study, like going to a laboratory at night to handle the technique. The study of plastic is very important. And, above all, constant reading.

Now, people only have to build themselves within an organic structure in a career that guides them. I had to go on inventing it and looking for it through experience.

-You mentioned that “the cinema has a strong tendency, but that it is breaking, towards guidelines of naturalism”. Why is it breaking?

-For the work of a new generation of directors who can build a non-real reality, and build a new real world. It breaks with the difficulty that we have in cinema to escape from the real event, the green of the trees, and look for an image and composition that build a story in itself without relying on the reality in front of us.

Much of what Andrei Tarkovski and Akira Kurosawa do goes in this direction. Build a reality, basically, literary, building outside the normal canon that we have in front of the camera. The last structure that developed a solid look and a convention of what is the phenomenon of cinema was given by Tarkovski.

Norma Aleandro, In &Quot;La Historia Oficial&Quot;, An Argentine Film That Won The Oscar.

Norma Aleandro, in “La historia oficial”, an Argentine film that won the Oscar.

-What do you think of the current state of cinema and the popularity of the series?

-The one with the cinema, great. Always in every moment there are people who seek to express themselves and they achieve it. As for the series, they are structures directed to a different mechanics: the force that the closed, dark movie theater has, and the projection on a screen is different from a story told when people are sitting having dinner.

There are quality series that tell interesting things, but there are also those that are pure commercial game. The series probably have a relationship with the old newspaper bulletins. It is not that the series system is negative, but what you are counting.

At 83, Félix Monti Is A Benchmark In Argentine Cinema.  Photo Télam / Alejandro Santa Cruz

At 83, Félix Monti is a benchmark in Argentine cinema. Photo Télam / Alejandro Santa Cruz

-Does your desire to continue filming today have to do with eternal youth, as Puenzo said?

-I started in 1954 and it is very difficult to think of another way of life away from a camera, from a structure, from the conversation with the art director, with the director or the encounter with the actors. I like to find the union between the character and the actor; the game of creating the character and the actor who is creating it gives you a very interesting path structure.

Source: Martín Olavarría / Télam


Reference from clarin