País República Dominicana – Argentina – Alemania – Catar
Formato de filmación 35 mm, HD
color color y byn
Dirección Nelson Carlo de los Santos Arias
Guión Nelson Carlo de los Santos Arias
Fotografía Roman Kasseroller
Edición Nelson Carlo de los Santos Arias
Dirección de arte Natalia Aponte
Sonido Nahuel Palenque
Reparto Vicente Santos, Judith Rodríguez, Yuberbi de la Rosa, Pedro Sierra, Isabel Spencer, José Miguel Fernandez
Producción Guasabara Cine, Nabis Filmgroup, Pandora Film Produktion
Alberto, un jardinero evangélico, regresa a su ciudad natal para asistir al funeral de su padre, asesinado por un hombre influyente. Para honrar a su progenitor se ve obligado a participar en celebraciones religiosas que son contrarias a su voluntad y creencias.
Alberto, an evangelical gardener, returns to his hometown to attend his father’s funeral, killed by an influential man. To mourn the deceased, he is forced to participate in religion celebrations that are contrary to his will and beliefs.
This extraordinary first work of mysterious vitality takes place in a peripheral neighborhood of the city of Belo Horizonte, a realm of existence marked by survival and the threat of death. War between groups linked to illegal drug trafficking is felt at all moments, even though violence of that social order remains practically out of screen and is known mostly by its consequences.
The unforgettable Andreia, a very young woman who subsists as a manicurist and wishes to move to another place, and her closest friend, Leidiane, share an everyday life that is not without happy moments and, sometimes, an undeniable sensuality. The leisure of disenfranchised people comes across as a political transgression when compared to the typical politically-correct sociological portrait which prefers to show—to the degree of exhaustion—a representation plagued with suffering and acts of savagism. The scenes in which some characters are bathing in a plastic basin have more grace than any film with scenes in Jacuzzis; here, pleasure is dissociated from wealth.
This doesn’t mean that an unjust economical order is denied, nor is deprivation legitimized as a virtue. Precariousness is materially enounced in the way Antunes records the neighborhood’s infrastructure, the interiors of the homes and the narrow streets where the most marginalized of Brazilian society pile up; an impoverished architecture is the counter-shot of the polite behavior of the characters. Here, space is an aesthetic entity of the first order in which both the determinism of these women’s lives and the glimmers in which a little bit of freedom can almost be felt are inscribed. In this respect, the two final sequences are exemplary.
The secret of Juliana Antunes’ Baronesa is in the gaze of a talented 28-year-old director who prioritizes the feminine experience in order to pierce the despicable, delinquent-like, and patriarchal order that prevails in the favelas.
SALAS Y HORARIOS
Domingo 04 de marzo
Sala Miguel Covarrubias - CCU
Martes 06 de marzo
Sala José Revueltas- CCU
EN LA MISMA SECCIÓN
NELSON CARLO DE LOS SANTOS ARIAS
Cocote (2017), Santa Teresa y otras historias (2015).
FESTIVALES Y PREMIOS
2017 Festival Internacional de Cine de Locarno, Signs of Life Award; Lisbon & Sintra Film Festival, Premio Especial del Jurado João Bénard da Costa; Festival Internacional de Cine de Toronto; Festival de Cine de San Sebastián; VIFF. Festival Internacional de Cine de Vancouver; FICValdivia. Festival Internacional de Cine de Valdivia; Festival de Cine de Hamburgo; Festival de Cine de Mar del Plata, Mejor película latinoamericana.