El príncipe de Nanawa

While filming a documentary in 2015, Clarisa Navas meets Ángel, a 9-year-old boy with an uncommonly natural air before the camera and a certain lucidity when addressing certain issues. His reasoning about his right to bilingualism in the classroom reveals the mind of a precocious thinker born to a family of little means. The filmmaker hugs him at the end of the interview, unaware that she and her team had at that moment just started down a new path. From that day on, Navas repeatedly travels to Nanawa, a Paraguayan city on the border with Clorinda, Argentina where Ángel was living with his parents, to film him for nearly a decade. EL PRÍNCIPE DE NANAWA belongs to a select group of films (Abbas Kiarostami’s 1990 CLOSE-UP foremost among them) in which the distance between cinema and life grows imprecise: what happens in front of the camera extends beyond the concept of representation. You breathe in the scene, you exist together with the camera, and, as things evolve, an unclassifiable form of affection is formed. Gradually, the discreet film crew as well as Ángel’s family and friends become a cinematic organism. (Roger Koza)

On the 25th of October in the presence of Clarisa Navas.

Clarisa Navas: HOY PARTIDO A LAS 3 (2017), LAS MIL Y UNA (2020)