Nicolas Prividera Weaves Private and Collective Recollections in ‘Adios a la Memoria’

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A cinematic essay about life, reminiscence and time, Argentine Nicolas Prividera’s “Adios a la Memoria” (“A Farewell to Reminiscence”), the Doc Works in Progress (WIP) winner at Spain’s Malaga Movie Competition, captures the life and recollections of the filmmaker’s Alzheimer’s-stricken father.

Produced by Pablo Ratto of Trivial Media, “Adios a la Memoria” does so by means of residence motion pictures urge filmmaker’s father shot, footage from archives in addition to these filmed by Prividera, as a household tragedy in the course of the late-70s dictatorship in Argentina continues to hang-out the household.

The docu-essay steers away from the usual first-person narration, and as a substitute is instructed within the third individual by Prividera who studied on the College of Buenos Aires and the Nationwide Faculty of Experimentation and Filmmaking and whose earlier movies, “M” and “Tierra de los Padres,” components one and two of a trilogy accomplished by “Adios…,” have garnered a slew of awards.

Prividera delved into why he sought to discover the theme of reminiscence, his cinematic influences and what the long run holds:

“Goodbye to Reminiscence” is the third a part of a trilogy with reference to private and collective reminiscence, you’ve got mentioned. How did you change into on this matter and why?

Let’s say that the subject was imposed on me organically by my expertise because the son of an individual disappeared by the Argentine dictatorship which started in 1976. The seek for what had occurred to my mom (together with the contradictory reminiscence about her that had remained within the household and people who knew her in her social militancy) was the topic of my first movie, “M,” in 2007. What me was how the previous remains to be current, and that was additionally the topic of my second movie, “Tierra de los Padres,” which premiered on the Toronto Movie Competition in 2011. In “Adiós a la Memoria,” I return to the house motion pictures that my father filmed between the ‘60s and ‘80s, materials he had briefly included in “M,” however there was a lot of it that it wanted its personal film. All three type a type of trilogy, though each will be seen and understood individually.

Inform us concerning the influences in your works. What points of French docu-essay director Chris Marker’s movies have influenced “Goodbye to Reminiscence”?

It’s inevitable to consider Marker, after all, since he’s the undisputed grasp of movie essays. What influenced me probably the most, consciously, is the way in which during which he managed to flee probably the most performative of that format, avoiding falling into the traps of the purely “subjective” documentary. In Marker, there is no such thing as a private reminiscence that isn’t anchored in, and in stress with, collective reminiscence. However, Marker additionally teaches us how one can work with montage and voice off or voice over, avoiding any redundancy or linear publicity, enjoying (like reminiscence itself) with its fixed counterpoint between probably the most numerous photographs and ideas.

Why do you discuss with Alexandre Dumas’ traditional ‘The Rely of Monte Cristo’ in your movie?

It is a Markerian hallmark, within the sense of assuming all textual content (be it in books or motion pictures) as a part of one’s reminiscence. Within the case of “The Rely of Monte Cristo,” he is among the bridges between my reminiscence and that of my father, in addition to a determine that summarizes the expertise of confinement (together with the confinement in reminiscence itself). That’s greatest expressed within the 1922 silent film, directed by Emmett J. Flynn and starring John Gilbert, which I embrace clips of in “Adios a la Memoria.”

The primary film you made once you had been very younger was considered one of horror. Why did you select that style and the way does it affect your works at the moment?

It’s my “first film” within the universe of residence motion pictures, and that’s the reason I embrace it within the movie to account for the second when cinema grew to become a craving. But it surely may very well be mentioned that the style selected me, and never the opposite approach round, since terror was a option to exorcise the every day horror that was breathed on the street, underneath that obvious ambiance of normality that the dictatorship offered in the course of the day (the killers principally got here out at night time, just like the monsters from these previous motion pictures I used to observe on TV).

Do you have already got a brand new venture in growth? What’s it about?

There are all the time concepts and initiatives, however it normally takes a number of years for them to settle. For instance, I started to mull making “Adios a la Memoria” whereas capturing “M” in 2007. However solely after my father’s sickness did I perceive what movie I ought to make.

Adios a la Memoria
Nicolas Prividera



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