Buenos Aires al Pacífico

V'18

Buenos Aires al Pacífico

Mariano Donoso
Argentinien, 2018
Features, 98min, OmeU

© Viennale © Viennale © Viennale

Buenos Aires al Pacífico

Mariano Donoso
Argentinien, 2018
Features, 98min, OmeU

Mit: 
Christian Kupchic
Mario Ortiz
Nestor Flores
Victor Ramos
Marciano Cruz
Tomás Efraín Donoso
Julia Donoso
Mariano Donoso Makowski
Drehbuch: 
Mariana Guzzante
Ton: 
Manuel Alonso
Marcelo Zogbi
Kamera: 
Mariano Donoso Makowski
Schnitt: 
Mariano Donoso Makowski
Manuel Alonso
Musik: 
Manuel Alonso

Produktion: 
El Zonda Cine, Alliance Française Mendoza
Weltvertrieb: 
El Zonda Cine
Format: 
DCP
Farbe und Schwarz/Weiß

Kultur- und Wirtschaftsgeschichte, Neurologie, Proust und Geologie... Schier unüberschaubar sind die Bezüge, die dieser ideengewaltige Filmessay über ein argentinisches Großprojekt des 20. Jahrhunderts herstellt. Donoso rekonstruiert die Geschichte der titelgebenden Bahngesellschaft, die Pazifik und Atlantik verband, vom frühen 20. Jahrhundert bis in die Ruinenlandschaften der Gegenwart. Sein Essay ist wie eine Traumerzählung sortiert, schwarzweiß mit farbigen Intermezzi, historischem Found Footage und schönen Lehrsätzen zur Geometrie der Moderne: „Trains follow the route of reason.“ (Robert Weixlbaumer)

In Anwesenheit von Mariano Donoso und Mariana Guzzante (Produzentin).

 

Life is but a dream, said a Spanish playwright, and a Chinese poet also stated something similar. It could be said, too, that life can be a nightmare. Donoso’s fourth film is a personal dream populated by multitudes. In it, we find his deceased mother and her sons; the paradoxical President Perón and his people; the Lumières and their trains; the last engine driver in a railway company before the first Neoliberal movement in Argentina took this company apart; Marcel Proust as an actionist; Juan José Saer as a reference; Baruch Spinoza as a philosophical intuition. This is the dream of “The Century of Intentions,” or how a general system of movement could be doubled by images and sound in order to define the life of labor and spirit in the 20th century. Donoso’s dreams are staged in the ruins of a now-ghostly Argentina; and the same happens with the materials he gathers to establish a dialectic between what he films and yesterday’s archives. The result, as a whole, is a film about trains, cinema, and the body, in all its potentiality for labor and exploitation. (Roger Koza)

In the presence of Mariano Donoso and Mariana Guzzante (producer).

Mariano Donoso: OPUS (2005), TEKTON (2009), EXHIBICIÓN RADIOGRAFÍA DEL DESIERTO (2013)