The experiment in commercial theaters began in 2019 with the (re)premiere of The Dolce Lifeby Federico Fellini, pre-pandemic in 2019. It was how to decentralize closed or elitist scopes of Cinema Club Nucleus. Unexpected event: almost two months on the bill and an exciting figure for the cinema art: almost 20 thousand spectators.
What madness to see Jean-Luc Godard in a popcorn room! Will it be a provocation? An involuntary loss? doWhat does Godard do in the Belgrano Showcase competing with Dragon Ball and the last of Suar?
The newspaper entrusts us with the mission: “special envoy” to see what happens with Male Female of Godard buying a big bucket of popcorn.
One, two, three, 17 people in the room. In a while two are going to get up. We will finish 15. In the function we notice that popcorn is always richer in the movies. In addition, you can eat without disturbing, because between one spectator and another there is a distance of polar distance.
“Mamma Roma”, by Pier Paolo Pasolini, filled functions at the Multiplex.
The man behind the phenomenon
Behind this modest phenomenon there is a man called peter maraiowner of the distributor Look. Marai as Sandor, the writer.
“I only saw what was happening in theaters in the United States, where I live for a good part of the year, and in Europe. I realized that there they are re-releasing important titles of cinema artso we decided to do the same here, but in commercial rooms, risking a littlein quotes, to compete with the Marvel tanks…”
-Good vibes the Showcase…
-And the Cinemark…
– Yes, very good vibes.
At 75 years old, Peter basically indulges in doing whatever he wants.. One fine day, thanks to his cravings, for example, we discovered the benefits of Israeli cinema. His delicate displays of counterculture make it possible for us to see, in the middle of the streaming eraa couple of Pasolini movies on the big screen.
“Mine is a nod to the ’60s. Why in the ’60s? Because it was the decade that changed in cinema and music. The moment of change. In the sixties, the cinematographic language was modified with Breathlessby Godard, and with the sweet life, by Federico Fellini.
“In Europe and the United States they realized that there a movie-loving public that has never seen certain great directors in the cinema. If people are still reading Hemingway or Proust, why not see Fellini or Jean-Luc Godard”.
the enduring art
That’s where we are: watching Male Female, 1966, for the first time. Row 8 and a plot without speed that allows us to question ourselves: does cinema age faster than the rest of the arts? Does literature resist the passage of time differently? Did the theater become a medieval spectacle? Television? unfathomable.
At a time when speed ousted development, nothing seems lasting except this movie. Not even Norwegian cinema is now allowed to shoot without something happening in the first three minutes. Godard’s, on the other hand, takes place in a furious and eminently urban black and white.
Peter Marai, the whimsical distributor of “Look”.
-It’s like a provocation, Peter.
-For me it is a cinema that does not age. We premiere the useless Y 8 1/2, because it was a Fellini anniversary. You have to explore a cinema that was left unseen, movies like The empire of the senses, for example, had only been released in conditioned theaters. We replaced it at the Cinemark Palermo.
the people of Look Calculate the frequency to be vintage premiere each month.
-How do you get the rights to these movies?
-In the case of restored films, you have to pay 500 dollars to cooperate with the recovery task. Step with Mamma Rome, starring Anna Magnani. It is paid separately. A rerun of these can cost between three and five thousand dollars in all respects and the average duration in theaters is not more than a month, in the best of cases.
-Do they collect?
–Fundraisers are modest, but it helps that we also distribute in other countries. Most of the time we recover the investment very justly with theaters from Uruguay, Chile and Mexico.
“Masculino-Femenino”, by Godard, is still on the bill. Compete with “Dragon Ball” and Suar’s latest.
-Basically you’re a movie buff…
– Better the cinema of now or the one of before?
– The one from before, I think. That’s why we relaunch. Now it’s not cinema, it’s content, it’s another animal. The avengers they have 26 films, they are all formulas and since the platforms appeared, people go easy. It’s all very much the same. In Cannes I saw 17 films and what I liked the most was a documentary about Goya…
“La dolce vita”, by Fellini, with Anita Ekberg. The revival in 2019 began with the modest phenomenon in commercial theaters.
-What about commercial rooms is “solidarity”?
-They give us a space in the Cinépolis de Recoleta, in the Cinemark… It is curious what is happening. The numbers are sad, but it is interesting that what is happening aside from the ugly news of the closure of the former Artemultiplex, one of our favorite rooms.
To the question of how it is done to seduce the public with these films, Analia Sanchezcoordinator and press officer of Mirada Distribution says the move is reasonably easy: “We we have a cinephile audience, captive. Any type of revivals for them are like events, cinematographic events”.
Generally, he says, they do surveys about which restored classic they would like to see. From there they make the elections via social networks. It’s true! Suddenly they ask the chronicler and we say: Let’s see, mmm… Opening Night, by John Cassavetes. They take note.
“We do it because there are few cinemas dedicated to art”, Analía admits. “They are counted on the fingers of one hand, and there are very few left. The exhibition in commercial halls occurs to us because it is new. The truth is, it causes us a bit of grace to end up competing with the franchise of dragon ball”.
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Reference from clarin www.clarin.com