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Thursday, October 6, 2022

Why Argentina, 1985, with Ricardo Darín, can win a Venice award

After the screening in the Sala Grande this Saturday, September 3, and during prime time, seeing the response of the public and the specialized media, it is not unreasonable to think that on Saturday the 10th, the name of Argentina, 1985of Santiago Miterwho star Ricardo Darin Y Peter Lanzaniin one of the eight prizes awarded by the Jury.

Obviously the most important is the Golden Lion for the best film, an achievement that no Argentine has obtained so far. Pablo Trapero was best director in 2015 for The clanOscar Martínez won the Volpi Cup for best male performer for the distinguished citizen a year later.

And you have to go back to 1985, when Pino Solanas won the Special Jury Prize for Tangos, the exile of Gardel to find a place among the Lions (Gerardo Gandini won the Golden Osella for best music for Cloudalso by Solanas, in 1998).

Alejandra Flechner, Ricardo Darín, Santiago Miter and Peter Lanzani, the main staff of the film, in Venice.  Photo EFE

Alejandra Flechner, Ricardo Darín, Santiago Miter and Peter Lanzani, the main staff of the film, in Venice. Photo EFE

Well, the prizes we said are 8. From the Golden Lion and below, the Grand Prize, the Silver Lion for directing, the Volpi Cups for best actress and leading actor, screenplay, the Jury Special and the Marcello Mastroianni for best young performer

To the chauvinistic question of Can you win the first Golden Lion for Argentina? it can be answered with a hopeful yes. But both in Venice now and in Cannes in May, in this 2022 there do not seem to be many risky proposals. And both on the Côte d’Azur and here, facing the Adriatic Sea, everything depends on the Jury, whose members change from year to year.

Ricardo Darín, in addition to being an interpreter (he is the prosecutor Strassera), is the producer of the film.  It opens on September 29 in theaters.  AFP photo

Ricardo Darín, in addition to being an interpreter (he is the prosecutor Strassera), is the producer of the film. It opens on September 29 in theaters. AFP photo

Darín, on everyone’s lips

Darín’s performance is praised by everyone, including the international media, as we published yesterday. And if you want to recognize or highlight the film, there are the aforementioned awards: the Golden Lion, the Jury Special, the Jury to dry, the direction and the script. In all these cases, it would fall favorably on Santiago Mitre, since he produced, directed the film and co-wrote the script with Mariano Llinás.

Thumbs up for Darín.  The Jury awards 8 prizes.  AFP photo

Thumbs up for Darín. The Jury awards 8 prizes. AFP photo

What I like to call the applause meter -the number of minutes with which a film is dismissed after its screening at the Gala in the Sala Grande- is often used by many international media, such as Varietyto position a film.

There goes an example. Four days ago, she titled “Tar by Cate Blanchett wins a 6-minute standing ovation in Venice, generating instant Oscar buzz.”

Cate Blanchett is by now almost a fixture for her performance in "Tár."  She would take her second Volpi Cup.  Photo EFE

Cate Blanchett is by now almost a fixture for her performance in “Tár.” She would take her second Volpi Cup. Photo EFE

Argentina, 1985 It had a 9-minute ovation, the entire duration of the final credits, something that no other in this edition has achieved so far. El Chino Darín, while we were walking towards the Hotel Excelsior after the screening, commented to me laughing: “Next time, if we come to Venice, we’ll do some longer final credits.”

A clarification must be made: in Venice even the biggest bodrio gets applause. Italians are like that, it’s like a way of thanking them for presenting the film, even if they didn’t like it.

Multicolored.  Mark Rylance, Taylor Russell, director Luca Guadagnino, Timotheé Chalamet and Chloe Sevigny, from "Bones and All."  AFP photo

Multicolored. Mark Rylance, Taylor Russell, director Luca Guadagnino, Timotheé Chalamet and Chloe Sevigny, from “Bones and All.” AFP photo

no boos

And something has changed with the press, because in the screenings prior to the Galas, if something displeased, it was booed ugly. Strong. And now, so far, there has been no Boouuuuuh!

At the Lido, a local review recount of the magazine clack After almost half of the competition for the Golden Lion had been screened, it placed Santiago Miter’s film as the second favorite. Out of 5 possible stars, it has 3.4. beats him Bones and All -3,9-, a story that combines love and cannibalism, by Luca Guadagnino from Palermo, but who shot it in the United States, with Timothée Chalamet.

Eye: the artist Nan Goldin and Laura Poitras, the director of the documentary "All The Beauty and the Bloodshed".  AP Photo

Eye: the artist Nan Goldin and Laura Poitras, the director of the documentary “All The Beauty and the Bloodshed”. AP Photo

Only two other productions have at least 3 stars: they are Athena -with 3.2-, Romain Gavras’s drama, which takes place practically entirely in that Parisian community, where violence due to the death of a pre-adolescent presumably by the police triggers more deaths and repression, and the documentary All the Beauty and the Bloodshedabout the artist Nan Goldin and also about her fight against the Sackler family, a pharmaceutical dynasty that caused more than 400,000 deaths in an opioid epidemic.

Watch out for the documentary.

The reaction of the public, not only from the accredited press and people from the film industry (understand producers, more than anything) was positive with Argentina,1985. They laughed when they could laugh, and were deathly silent when prosecutor Strassera reads his closing statement.

Prosecutors Moreno Ocampo (Lanzani) and Strassera (Darín), long before the Trial of the Boards.  Photo Digicine

Prosecutors Moreno Ocampo (Lanzani) and Strassera (Darín), long before the Trial of the Boards. Photo Digicine

And they applauded on more than one occasion during the screening -once, and trying to avoid a spoiler, they burst into applause, thus covering up a sound/muffler effect wanted by the director-. But it was a clear sign of approval of what was on the screen in the Great Room.

There were, of course, Argentines. Not only because a flag of our country was seen in the stalls. After mentions of Sundays for the youthor others, for example, laughter could be heard from the left and from the right of the stalls.

But the applause that crowned the end of the screening, and that remained high until the end of the credits of the film, marking so far the record we were talking about at the beginning, also gives an indication.

To the extent that Julianne Moore, president of the Jury, was not present in the Great Room and was lost in the first person to see and hear the reaction of the public, it may not have any implication on her judgment about the film. She saw it in one of the morning functions, for the press and the industry, when she saw most of the films in competition with the public, with applause, in the Sala Grande.

As we have already said, also, the members of the Jury cannot have contact with the press. So don’t want to know, don’t ask anyone what our compatriot Mariano Cohn thought Argentina, 1985. Silence stamp.

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Reference from clarin www.clarin.com

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