2023-12-11 03:50:00
Trailer of Chau, Buenos Aires, by German Kral
The film Chau Buenos Aires, directed by Germán Kral, immerses itself in the whirlwinds of the economic and social crisis of 2001 in Argentina. The plot follows Julio Färber, played by Diego Cremonesi, determined to emigrate with his family to Europe, abandoning his shoe store, his beloved neighborhood of Nueva Pompeya and his beloved tango group. However, life seems to conspire to challenge his decision, unleashing a tragicomedy that portrays the harsh reality of an economic and social crisis in Argentina.
In Chau Buenos Aires, emblematic tangos such as “Pasional”, “Desencuentro”, “Cambalache” and “Honor la Vida” intertwine the plot, reflecting the lives and emotions of the characters. These melodies, recorded especially for the film by prominent Buenos Aires musicians, encapsulate the essence of tango and its deep roots in the lives of the protagonists.
The film, in its simplicity and complexity, resonates with the current reality of Argentina, presenting a hopeful vision despite the darkness. Kral highlights how, despite loss and uncertainty, the protagonists retain dignity, humor and camaraderie, a lesson in resilience in turbulent times. Kral reflects on the validity of the story in contemporary times, where the events that Julio and his friends face tragically resonate in today’s Argentine society. The director hopes the film will serve as a ray of hope in dark times, highlighting the dignity, humor and friendship that persist even in the most adverse circumstances.
In the film, tango also plays an essential role
With a conviction in cinema’s ability to entertain and move, Kral seeks to move audiences with a multifaceted story: funny, emotional, romantic and tragic at the same time. A story that finds its essence in the local, but that resonates in the universal, weaving a tapestry of emotions and reflections. Chau Buenos Aires is, ultimately, an ode to Argentine resilience and the transformative power of cinema, carrying with it the legacy of a city, a musical genre, and a story of survival and friendship.
Infobae Cultura interviewed the director who premieres his first fiction film this Thursday.
—How did you get the idea of putting the 2001 crisis as the context of the film?
—In 2001, I was filming a documentary about the El Chino bar, so the whole topic of the tango bar and the economic and social crisis that Argentina suffered at this time was very close when I started writing this script in 2003. The My son’s mother told me why don’t you make a film about the birth of a tango bar? and that’s how it started. At first, the protagonists wanted to set up a tango bar. The love story between a bandoneon player and a taxi driver was there from the beginning. 2001 was very close and I had been impressed by the fact that one day one could not withdraw one’s own savings from the bank, it seemed almost incredible to me. I thought it was a good time to tell a movie.
The director Germán Kral together with the protagonists Marina Bellati and Diego Cremonesi
—What was it like to summon this luxury cast?
—We took care of getting the greatest amount of money that was within our means so that the film turned out well. I had a great film crew and of course I wanted to have very good actors. I was lucky enough to get this dream cast. They really put their heart and talent into this film. Diego Cremonesi put everything into this film. In addition to the acting part, he spent a year learning to play the bandoneon and plays the notes. He worked days and days and days to get that out. I am very grateful for his work. Manuel Vicente brought incredible humanity to the character of Atilio, he moves me every time I see him. David Masajnik gave Polaco a beautiful humor and that freshness that characterizes him. People are dying of laughter at David’s comments. The entire cast is surprising.
—What did you take into account when approaching your first fiction?
—I studied fiction, I always wanted to do fiction. I started filming documentaries because they were easier to make. So, I moved forward, I did relatively well, people liked what I was doing, I did the next one and meanwhile I was developing this project. I knew all the aspects of filming a movie, but I had never experienced working with actors, who have to be told what went right, what went wrong, what they have to repeat and why and how. That for me was the biggest challenge of this film, in terms of what the making of it means.
“Bye, Buenos Aires” is Germán Kral’s first foray into fiction feature film.
—How did you work on the documentary aspect?
—The reality of the world we were telling, its verisimilitude, was always very important to me. We treated all aspects of the film with great care: the clothes had to be true and real, as possible, the makeup, the sets, the lighting, as beautiful but at the same time as realistic as possible. Even when the musicians played. It was very crucial for me that you believe they were playing. It was terrible and a very painful job to see the images of the 2001 crisis. Furthermore, to see that the issues that were talked about are exactly the same that we discussed 20 years later: International Monetary Fund, people who want to leave the country doing queues at embassies, poverty, corruption. Argentina has been going around for more than 20 years over the same issues, it is really tragic and sad.
—Despite having very tragic events, being able to include and have the luxury of playing with comedy as well.
—That was there from the beginning. When I started studying film I loved the films of Tarkovsky and Wenders, that is, rather slow and serious films. Over time, I discovered the value of tragicomic films. It seems to me that cinema has to entertain, it has to entertain and it has to excite. Those movies where you cry and laugh at the same time are something fantastic to do. People have to leave the cinema having been entertained and also mobilized and that is what we try to do.
The actors Diego Cremonesi and Marina Bellatti star in this love story
—The film has two protagonists, however, all the characters are very well developed and have their own flight.
—It was a great job that we did with my co-authors, with Fernando Castets in Buenos Aires and with Stephan Puchner in Munich. The three of us wrote and in that back and forth it was refined and the most essential remained, as if it were a sauce. I think we achieved a fairly ensemble film. Although there is a main story, that of Julio and Mariela, each character has their moment and each one shines at some point. It was not easy. We went around each one and added scenes and conflicts, but I think that was pretty good. I’m very happy with that.
—How was the challenge of filming during the pandemic?
—We started filming in March 2020 and after ten days we had to interrupt due to the pandemic. We were only able to resume eleven months later in February or at the end of January 2021. When we were able to resume, we were all happy to be able to work again, both the technical team and the actors. Because it was once again having the possibility of doing what we like and being able to leave our homes and go back to work. Besides, we all wanted the project. It really was a project with which each of us was in some way identified and each of us wanted the best. All these actors that you see were happy with the filming, with the story and they wanted this to turn out well and move forward.
*“Chau Buenos Aires” by Germán Kral premieres in Argentine cinemas next Thursday, December 14
[Crédito Fotos: Alex Gonschior y Monogatari Films – Salamanca Cine]
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