Director
The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.
Cinematography
"You might think that people are tired of silly love songs / but I look around and see that they are not," sang Paul McCartney. And those verses seem to guide Karin Idelson's camera in this exploration of, to call them somehow, the "popular applications" of romantic songs. Cumbia, soft-rock, reggaeton, pop, boleros, hits from the '80s and from before too: music is in the air of the city, and a love song traps it in places where it is so naturalized that we hardly pay it attention but also, and especially, in the most hidden or unusual.
Writer
"You might think that people are tired of silly love songs / but I look around and see that they are not," sang Paul McCartney. And those verses seem to guide Karin Idelson's camera in this exploration of, to call them somehow, the "popular applications" of romantic songs. Cumbia, soft-rock, reggaeton, pop, boleros, hits from the '80s and from before too: music is in the air of the city, and a love song traps it in places where it is so naturalized that we hardly pay it attention but also, and especially, in the most hidden or unusual.
Director
"You might think that people are tired of silly love songs / but I look around and see that they are not," sang Paul McCartney. And those verses seem to guide Karin Idelson's camera in this exploration of, to call them somehow, the "popular applications" of romantic songs. Cumbia, soft-rock, reggaeton, pop, boleros, hits from the '80s and from before too: music is in the air of the city, and a love song traps it in places where it is so naturalized that we hardly pay it attention but also, and especially, in the most hidden or unusual.
