| R: Inés de Oliveira Cézar
Land: Argentinien 2005
Drehformat: HD
Vorführformat: 35mm, Farbe
Länge: 90 Minuten
Sprache: Spanisch
mehr Informationen |
Der Film zeigt zwölf Stunden im Leben einer Familie, die aus dem vierjährigen Santiago, seiner Mutter René, seinem Vater Juan und seiner Großmutter Virginia, Renés Mutter, besteht. Alle vier erleben an diesem Tag eine Reise in eine andere Zeit, eine Zeit der Begegnung mit den kleinen Dingen des Lebens, durch die die Beziehungen zwischen den Kindern und den Eltern eine ganz neue Bedeutung erhalten. Diese Begegnungen bestimmen die gesamte Handlung, bis ein Ereignis eintritt, das zu einer radikal veränderten Wahrnehmung und der Frage führt, was lebendig in uns ist. Ein Beitrag zum Kino der neuen Nüchternheit in Argentinien: mit langen Einstellungen, minimalen Dialogen und minimaler Erzählstruktur, das nicht mehr ein größeres soziales Umfeld beschreiben will, sondern den inneren Zustand von Menschen und ihre engsten Beziehungen auszuleuchten versucht. [aus dem Forumprogramm]
INTERVIEW How would you describe the aesthetics of your film?
It is a film where the narrative crux it’s in the visual description. The treatment of time is supported by the usage of sequential shots and panoramic shoots, which allowed us to capture the strength of the nature at its whole potential.
The original intention was to work a wonderment of the image. We started our search with images being seen through concave mirrors. This led us to the use of cylindrical lenses which modified the optical axes allowing us to change the meaning in the organization of the framing and the perspectives.
Which digital format did you choose to shoot on, and why (was it solely for financial reasons, or did aesthetics play a role)?
I choose HD because I needed to go out to haunt. With the budget that this film had, it wouldn’t have been possible to make it in 35 mm. The length of some shots (some of 5 or 6 minutes) also played on our side when we had to make our choice.
What was special about shooting on DV (e.g. compared to 35mm, was it your first time with dv or are you used to it ..)?
This was my first experience with HD. Compared to 35 mm, it gave us the facility of working with a reduced team and to turn on the camera without worrying about saying ‘cut’. It allowed us to experience freedom during the shooting; the chance for registering magical moments.
HD post-production also offered us valuable tools.
What was your shoot-edit ratio?
From the beginning of the shooting until the last cut, four months. Then we went online and the enlargement at 35 mm, a process that took two months. The pre-production was the longest stage which was carried with no difficulties but without any pauses for seven months until we felt strong enough to go out and shoot.
Looking back: Would you have preferred to shoot in another format? If so which?
No, I wouldn’t have chosen another format. I’m very pleased with this experience because freedom is something immeasurable for me. If you work with a photography director with a connected sensibility, the HD can be worked with really good results.
One good word about HD (or two):
Zone number seven. High lights.
One bad word about HD (or two):
Low lights. Magic hour.
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