V’18: OCTOBER 25 – NOVEMBER 8, 2018

P3ND3J05

V' 15

P3ND3J05

Raúl Perrone
Argentinien, 2013
157min, OmeU

© Viennale © Viennale © Viennale

P3ND3J05

Raúl Perrone
Argentinien, 2013
, 157min, OmeU

Actors: 
Mariano Blanco
Cabito
Yenien Teves
Eugenia Juarez
Fernando Daniel
Adrian Quiroga Hernandez
Julieta Maria Borgna
Gonzalo Orquin
Nestor Gianotti
Screenplay: 
Raúl Perrone
Sound: 
Raúl Perrone
Lucas Granata
Camera: 
Raúl Perrone
Hernan Soma
Editor: 
Raúl Perrone
Composer: 
Nomenombresway

Production: 
Les Envies que je te désire, Trivial Media
World Sales: 
Trivial Media
Format: 
DCP
Black/White

What is a “cumbiópera”? It is a heterodox fusion of two musical genres with just one thing in common – the twelve notes of the musical scale. The result is magnificent, with the electronic intervention of DJs following the lead of Perrone’s mixture between Puccini, cumbia, sounds of skateboarding and trains as a great infinite chord which ciphers the spirit of this film. The visual bluntness of P3ND3JO5 is evident: the 4:3 ratio, the black & white, the shots resembling those strict frames of silent cinema, the traveling shots following the skaters as they slide, the slow motion used for some of their feats, the fades registering the movement of the clouds or suggesting the ghost-like destiny of these youngsters. Three acts and a coda; the storyline is circumscribed to small narrative sketches: a few love stories, the lonely wanderings of a young man, a crime linked to police corruption, drug dealing. The rest is moving on four wheels through an eternal present without horizons.

In the presence of Pablo Ratto (producer).

Raúl Perrone
Born in 1952 in Ituzaingó, Argentina. The “father” of independent Argentinean cinema makes most of his films in (and on the subject of) this small city fifteen kilometers away from Buenos Aires. In almost 28 years, he directs over 40 films without any external financial support. His first “Barrio” films, closer to a naturalistic style and based on words, have little to do with the experimental, formal sophistication of his later works in which words remain beyond the frame and (facial) expressions reach a hyperbolic dimension. These are tales about neighbors and friends, about love, ominous tales set in an imaginary jungle, or in a castle. The multiplicity of themes is just as evident as the aesthetic drive of a filmmaker who reinvents, film after film, cinema’s language. He lives in Ituzaingó. (Roger Koza)

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