Familia sumergida

V'18

Familia sumergida

A Family Submerged

Maria Alché
Argentinien/Brasilien/D/NO, 2018
Features, 92min, OmeU

© Viennale © Viennale © Viennale

Familia sumergida

Maria Alché
Argentinien/Brasilien/D/NO, 2018
Features, 92min, OmeU

Mit: 
Mercedes Morán
Marcela
Esteban Bigliardi
Marcelo Subiotto
Laila Maltz
Federico Sack
Drehbuch: 
María Alché
Ton: 
Julia Huberman
Kamera: 
Hélène Louvart
Schnitt: 
Livia Serpa
Musik: 
Luciano Azzigotti
Kostüm: 
Mercedes Arturo

Produktion: 
Pasto Cine
Bubble Project
Pandora Film Produktion
4 1/2
Weltvertrieb: 
Visit Films
Format: 
DCP
Farbe

Marcela, gut verheiratet, Mutter dreier halbwüchsiger Kinder, muss den Hausstand ihrer plötzlich verstorbenen Schwester Rina in Buenos Aires auflösen: Strickwaren, Zimmerpflanzen, Bücher, Pelzmäntel und Möbel, Fotografien und Briefe. Erinnerungen. Mit einem Mal sitzen die Geister alter Tanten und Onkel in Marcelas Wohnzimmer, streifen Schemen der Vergangenheit durch ihre Gegenwart und lösen sie auf: Vielerlei wäre nun möglich, eine Affäre vielleicht? In der Trauer entrückt sich dem Menschen die Wirklichkeit, ein Verlust verändert die Welt – mit sicherer Hand fängt die Schauspielerin, Fotografin und Filmemacherin Alché in ihrem Langfilmdebüt einen Schwebezustand ein. (Alexandra Seitz)

In Anwesenheit von María Alché und Christoph Friedel (Produzent).

 

Marcela has just lost her sister Rina, it was sudden. Rina’s apartment must now be cleared of her possessions, the plants, furniture and clothing: succulents, dark wood, patterned scarves, a pair of old sunglasses. The curtains are closed and the light is soft and diffuse, like it must be on the floor of the sea, like it is at home, where Marcela lives with her husband and three teenage children. Family life is chaotic, as there are constant interruptions, the broken washing machine, the telephone calls and unexpected guests, the tears that arrive unannounced, the impromptu songs. Maybe that’s why Marcela starts spending time away with her daughter’s friend or taking refuge in her imagination, playing dress-up and talking nonsense with the kids, although most of the strange scenes that play out for her come forth unasked. In the blueish light, it can be hard to tell exactly when and where you are, even when the action moves out of the two apartments, to the hotel room, to the sports hall, to the country. Grief doesn’t flow in one direction, it seeps between spaces, makes channels of its own, it carries you along with it until you’re able to stand, until all the water is gone. (James Lattimer)

In the presence of María Alché and Christoph Friedel (Produzent).

María Alché NOELIA (2012), GULLIVER (2015)