The undisputed Argentinian Royal Tamae Garateguy (“She Wolf” and “Las Furias”) family is set to begin shooting in shock and awe for their next movie, “Auxilio” (“Help”). The shoot, a co-production between Argentina and Colombia, will begin in August and take advantage of locations throughout Buenos Aires.
“Buenos Aires is the lively protagonist. I think it’s a very cinematic city, with neighborhoods as they were 200 years ago, and some of the same as 50 years ago,” said Garatigui.
The premise promises a harrowing look at a grueling era that saw the country’s first military coup. Nuns and supernatural forces collide to comment on the torture of women at the hands of relentless, oppressive societies.
“I feel like this movie is set in the moment. There is a lot of anger at women. It is supposed that everything is progressing towards greater equality between men and women, and this apparent setback is a bit like the movie that talks about all the oppression that women face. It takes place in 1930s “I’d like to think we’re less oppressed now,” Garategui said, “but look what happens.” diverse.
And she continued: How can the horror and helplessness of the inability to scream and the despair it provokes be represented? In recent years, those women who are no longer there because they were killed, shouting through us, those who are still here.”
The project was produced by directors Daniel de la Vega of Argentina’s Furia Films (“The Last Heretic”) and Néstor Sánchez Sotelo of Del Toro Films (“The Funeral Home”). The duo previously collaborated to produce “White Coffin,” and HBO and Shudder acquired “On The 3rd Day.”
“Auxilio” employs a female staff and a technical team to relay the story of a defiant Emilia, who was sent to a convent by her father. The film follows her journey alongside the other detainees as supernatural powers begin to rise between the sanctified and the tormented.
The film “will reinvigorate cinema, with a story told by a female eye, with me as a director, and also through all the women who are part of the cast and cast, which we proudly affirm, the vast majority in this project, said Sanchez Sotelo.
Garateguy has earned high praise on the festival circuit, and has never shied away from brutality or excessive sexuality. The roles of women in their projects are written in full, not in part, and embodied outside the skin Reveals the collective corruption that women often ride conjure up.
Her debut project, “Pompeya”, a relentlessly twisted look at the cyclical brutality of the drug trade, won Best Argentine Film at the 2010 Mar Del Plata Film Fest, one of Latin America’s biggest films, as well as a Free Spirit Award at the Warsaw International Festival – Poland. 2011; Subsequent works have played in competition at Bafici, SXSW, Toronto, Morbido, and Austin’s Fantastic Fest.
With each film, Garateguy incorporates the new perspectives that the script demands. Delving into police thrillers (“10 Palomas”), gangster movies (“Pompeya”), Westerns (“Las Furias”) and now the supernatural, it offers an energetic look at the genres dominated by men without compromising the inclusion of scenes. brutality.
As an instigator, she commented on the mounting shock value that audiences demand, “The threshold for shock has changed a lot. It has been increasing over the years. The epidemic, the reality, is so hard, so corrupt, that you don’t want to see it. I advocate the most extreme cinema, Cinema that wants to somehow access, shock, or represent evil, of man at his worst—more perverse, animalistic, more destructive.”
She concluded, “That’s why I’m a big advocate of the type of cinema, cinema that looks for shock, rather for an unpleasant place, even. Cinema that excites the spectator, where it ought to be, not really. Reality is horrific. I think cinema makes space for that.” The part of man that remains dormant.”
De la Vega hinted that with Garratigue at the helm, “Auxilio” promises with the same familiar sharpness, “Given the stakes and stakes taken, this film will represent the before and after in the Latin American cinema genre.”
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Credit: Sol Iglesias
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