La Ciénaga - morass

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Movie
German title La Ciénaga - morass
Original title La Ciénaga
Country of production Argentina ,
France ,
Spain
original language Spanish
Publishing year 2001
length 102 minutes
Rod
Director Lucrecia Martel
script Lucrecia Martel
production Lita Stantic
camera Hugo Colace
cut Santiago Ricci
occupation
chronology

Successor  →
La niña santa - The holy maiden

La Ciénaga - Morast (original title: La Ciénaga ) is the first feature film by Lucrecia Martel from 2001. It premiered at the Berlinale and was Argentina's first competition entry since 1988 at the Cannes Film Festival . The start date in Germany was August 22, 2002.

The film is the first part of Martel's “Salta Trilogy”, which also includes La niña santa - The Holy Girl (2004) and The Woman Without a Head (2008). In morbid images and elliptical narrative style, the director describes the summer vacation of two large Argentine families in the north-west of the country. The film rejects a conventional narrative structure.

action

Mecha, about fifty, her husband Gregorio and their four children spend (translated: the sultry February at their country house "La Mandrágora" Mandrake ) in Salta Province in northwestern Argentina. While the adults get drunk, the children cool off in a reservoir, everyone seems apathetic. The television reports about an apparition of Mary in a water tank. Fifteen-year-old Momi seeks the presence of an Indian domestic worker, while her friends and relatives are constantly voicing their prejudices about Indians.

Young people stroll through the forest with rifles and keep coming back to a place where a cow has half sunk in a swamp hole. They shoot the carcass.

The drunk mecha (played by Graciela Borges, who is very popular in Argentina) sustains cuts in the event of a fall. Almost no one around her seems to have noticed that she was injured. In the hospital in La Ciénaga (in German: "the swamp") she meets her cousin Tali and her son, whom she invites to "La Mandrágora". Tali arrives with her husband Rafael and all four children.

There are tense days in oppressive heat on the former plantation. The prevailing boredom is pervaded by erotic tension, incestuous hints and latent aggressiveness.

background

Lucrecia Martel himself comes from a large family and was born in Salta. As a teenager she filmed what was happening at home with a video camera, later she made short films and TV documentaries. La Ciénaga took five years to prepare . In 1999 she won the Filmmakers Award at the Sundance Film Festival for the script . The film was made true to the script within 40 days with almost no improvisation. Most of the supporting actors were amateurs and were selected in 1,600 interviews with locals.

Pedro Almódovar and his brother Agustín liked Martel's unconventional staging of their first work so much that they decided to produce their films in the future.

Receptions

In the Neue Zürcher Zeitung , Geri Krebs emphasized the film's "aesthetic sophistication, which is improbable for a debut work". Although he consistently refuses to use a conventional narrative structure, he develops a "pull like a swamp".

David Oubiña describes La Ciénaga for the Criterion Collection as “a terrific exercise in elliptical narration and in the use of the area outside the camera view. Some scenes have no beginning and are simply interrupted. Something was constantly going crazy or missing that was still in place in the previous shot. "

Moritz Holfelder describes the film for the BR as “reckoning with the white Argentine middle class, who still live in decadence and agony.” In his opinion, all of Martel's films are about “racism, machism and a special form of apathy ”that paralyzed Argentina.

In the Village Voice , Amy Taubin describes La Ciénaga as a “provincial tragicomedy á la Chekhov ”. In her brilliant debut film, Martel constructs her narrative from everyday occurrences, the constant comings and goings of the characters, and a cacophony of voices that vie for attention.

So far, the film has received approval from 88 percent of Rotten Tomatoes critics and achieved an average rating of 6.9 out of a possible 10 points.

Awards

  • 2001: Silver Bear at the Berlinale
  • 2001: Award for best director, Graciela Borges as best actress, and for best sound at the Havana Film Festival
  • 2001: Award for Best Director and Best Actress for Mercedes Morán at the Clarín Entertainment Awards
  • 2002: Cóndor de Plata for best debut film, for Graciela Borges as best actress and for best camera at the award of the Association of Argentine Film Critics and Film Journalists

Web links

Individual evidence

  1. ↑ a b Cristina Moles Kaupp: Blood that mixes with red wine. In: Spiegel Online. February 8, 2001, accessed May 11, 2020 .
  2. ↑ La ciénaga - morass. In: kino.de. Ströer Media Brands GmbH, accessed on May 17, 2020 .
  3. ^ Fiona Clancy: Motherhood in crisis in Lucrecia Martel's Salta trilogy . In: Alphaville: Journal of Film and Screen Media . No. 10 , 2015, ISSN  2009-4078 , p. 1-12 ( ucc.ie ).
  4. ↑ La ciénaga. In: UC Berkeley Art Museum and Pacific Film Archive. The Regents of the University of California, accessed May 18, 2020 .
  5. ^ A b Eva-Christina Meier: Cinema for the attentive. In: taz. July 5, 2018, accessed May 17, 2020 .
  6. ↑ a b c Geri Krebs: In the suction of the swamp | NZZ. In: Neue Zürcher Zeitung. March 22, 2002, accessed May 15, 2020 .
  7. ↑ James Quandt: Holy Girls, Headless Women and Hapless Men. In: Toronto International Film Festival. February 18, 2018, accessed May 10, 2020 .
  8. ↑ a b c Manfred Hermes: Swampy suspension. In: Friday. August 30, 2002, accessed May 11, 2020 .
  9. ^ Kerstin Decker: Ode to putrefaction. In: Der Tagesspiegel. August 22, 2002, accessed May 10, 2020 .
  10. ↑ Sascha Westphal: "La Ciénaga". In: world. Axel Springer SE, August 22, 2002, accessed on May 10, 2020 .
  11. ↑ Nadine Lange: Record what happens. In: Der Tagesspiegel. August 22, 2002, accessed May 15, 2020 .
  12. ↑ Eddie Cockrell: The Swamp. In: Variety. March 1, 2001, accessed May 15, 2020 .
  13. ^ David Oubiña: La Ciénaga: What's Outside the Frame. In: The Criterion Collection. Retrieved May 19, 2020 (English).
  14. ^ Moritz Holfelder: Harter Blick: The Argentine film director Lucrecia Martel. In: Bayerischer Rundfunk. July 3, 2018, accessed May 19, 2020 .
  15. ↑ Amy Taubin: Temples of the Familiar | The Village Voice. In: The Village Voice. October 2, 2001, accessed May 19, 2020 .
  16. ↑ [1] In: Rotten Tomatoes. Retrieved May 18, 2020.