Fernando Solanas 50 years of cinema and politics

How is it to be president of the jury for the Festival do Rio this year? Very good. I only saw Brazilian films throughout the festival (laughs). I did not see any film from another country, only Brazil, and I can say I am very pleased and honored to be invited to participate in a team as big and important. Brazilian cinema has great avant-garde films. I can appreciate what I’ve seen.

This year there was a large interest from European, American and even Japanese directors on issues relating to Latin America. What do you have to say about this outside view? Actually you said the right thing, it is an outside view. This can result in both a riveting sight, and in a mistaken view. Personally I have nothing against it, because filmmakers are more and less sensitive in all places. Sometimes a stranger can show an angle that we view as more flawed, not analyzed or even not noticable. I found myself wondering how I even did not realize certain things that a foreign director captivated at first glance. The good side of this outside view is that it sometimes allows us to see things that were "off" or "invisible" to us.

And the current crop of Argentine cinema? Are the mechanisms to encourage and stimulate audiovisual production in your country satisfactory? Current Argentine cinema is divided into two types: the avant-garde and commercial. Nothing else. We produce about 60 films a year, not bad, but then we have fewer incentives than Brazil, which produces more films a year. The Instituto Nacional de Cinema supports and encourages my movies but I do not count myself, because like it or not I have 50 years of cinema behind me, it’s easier for me at this stage of life to get funding for my projects. I film every 1 ½ years. It’s just that when I finish a film I am just beginning to develop a new project. But for young filmmakers it’s a bit more complicated. In addition the Instituto has a board that is responsible for monitoring administrative matters and that’s going very badly there.

Within the new generation of Latin American filmmakers who would you highlight? I really liked the movie that won the Golden Bear at the last Berlin Film Festival, La Teta Asustada by young Peruvian director Claudia Llosa. And in general I’m quite happy with the young Latin American cinema, especially from Argentina, Mexico and Brazil.

What advice would you give to young filmmakers? To work a lot. Also to remain faithful to their originality and remain unique in their styles, without losing the fresh look and creativity. One should not imitate but be always looking for one’s own style.

Are you still thinking of a political career after two candidates and a mandate? (Solanas ran for president in 2007, the Senate in 1992 and had a term as national deputy from 1993 to 1997) Yes, of course! At the end of this year I will apply for national deputy. I can coinciliate political life with the movies.

Sabrina Fidalgo