Discover Now: Pablo Trapero

With our full Pablo Trapero collection now available on Curzon Home Cinema, it seems only fitting that this highly acclaimed film-maker be the focus for the launch of our new retrospective digital series - Discover Now.

Born in San Justo, Buenos Aires in 1971, Pablo Trapero began his international career in 1999 with his first feature CRANE WORLD (MUNDO GRÚA). The black and white, 16mm film marked a turning point in Argentinean film-making, and encouraged numerous young directors into their first features forming the so-called "New Wave" in Argentine cinema. CRANE WORLD (MUNDO GRÚA) had its international premiere at the Venice Film Festival, and went on to reap awards and critical acclaim at film festivals around the globe.

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BLIND Director Eskil Vogt

More than a film about a medical condition, “Blind” is about our inner lives – the beautiful, ugly and sexual thoughts and feelings that boil underneath the surface in us all, blind or seeing. Still, I found blindness to lead straight into that inner world. When you lose your sight objective reality seems to lose some of its ability to correct your imagination, to keep your thoughts in check. In fact, it can be argued that when you’re blind your thoughts are your reality.

The woman in the story has lost her sight and retreated to her apartment and to a place where she can feel in control, inventing a world where she is all-powerful. But, of course, her problems aren’t outside of the walls of her apartment, they are within her, and her innermost fears and repressed fantasies soon take hold of her fictions.

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Marco Robino

The Architorti soundtrack for GOLTZIUS & THE PELICAN COMPANY has its origins from the concept of seriality applied to music, the same seriality that Goltzius applied to his art, and it's the main inspiration source for the music in the film.

I'm the author of the soundtrack and the founder of Architorti, a unique ensemble in the Italian musical overview. The aim of the project is the creation of a “Bottega Musicale”, where musicians of different stylistic nature can find a creative field in which to work.

The reference model is the Renaissance atelier (workshop), where research and experimentation are the formal and stylistic expression of a new way of making music with the help of electronic machines.

I think that the music in the film is classifiable in four different typologies: the narration, the grotesque, the triumphal and the tragic.

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Q&A with Oliver Ledwith, Focus Puller on THE ARTIST AND THE MODEL

Q: Tell us a bit about what your job as a Focus Puller entails.

A: The Focus Puller or 1st Assistant Cameraman is the right hand man to the Director of Photography on the camera side, in charge of preparing the camera for shooting. This involves physically setting up the camera, changing lenses, adding filters and perhaps most importantly, keeping the actors in focus whilst shooting.

Although film cameras have experimented with auto focus systems over the years, they have rarely been implemented as it is important to have creative freedom over what parts of the screen are in focus, in order to direct the viewer’s attention towards those areas.

Q: What kind of training/on-the-job experience did you obtain when you first started?

A: I started out as a runner for the Camera Department in a small studio in London, learning the trade of a Clapper Loader, when shooting on film was still the norm for Commercials and Drama. In this capacity (2nd AC) you not only physically ‘load’ the film on to the camera but you assist the Focus Puller so also learn this role first hand. The physical aspect of ‘pulling focus’ I learnt from working for free on short films and practising on the job.

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Fernando Trueba and Aida Folch on the set of THE ARTIST AND THE MODEL

Fernando Trueba, the Director and Co-Writer of THE ARTIST AND THE MODEL, talks about some of the films and filmmakers that have influenced him and his work.

 

 

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