{"id":2512,"date":"2023-05-02T10:00:07","date_gmt":"2023-05-02T15:00:07","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?p=2512"},"modified":"2023-05-02T10:04:05","modified_gmt":"2023-05-02T15:04:05","slug":"diogenes-photography-as-the-driving-force-of-cinema","status":"publish","type":"post","link":"https:\/\/vistprojects.com\/en\/diogenes-photography-as-the-driving-force-of-cinema\/","title":{"rendered":"Diogenes: photography as the driving force of cinema"},"content":{"rendered":"

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Di\u00f3genes<\/em> tells a story of isolation and death in the Andes. It is also a sophisticated visual artifact in which photography – by Mateo Guzm\u00e1n and Musuk Nolte – plays a leading role. Chosen as the Best Ibero-American Film in the Zonazine section of the Malaga Festival 2023, Leonardo Barbuy’s debut feature will be released in Peru in August. In this interview, the director reflects on the role of photography as a narrative engine in cinema and comments on his work in Sarhua. In this Andean community, the film is set.<\/p>\n

By Alonso Almenara<\/p>\n

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“It all started with a dream,” recalls Leonardo Barbuy. “In the dream comes back one of the images I remember best from my childhood, when I used to go to my grandmother’s house in the central highlands of Peru. There I saw isolated shepherd’s houses. And in the dream, I see one of those little houses. I approach it and see that inside, there is a dead man\u2014a man I don’t recognize.<\/p>\n

Upon waking up, the Peruvian filmmaker associated those vivid images with his bond with his children. “There was born the question of what would happen if this man had died while caring for two children in a circumstance of isolation.” From this idea was born the film Di\u00f3genes, set in the village of Sarhua in the southern highlands of Peru.<\/p>\n

Shot entirely in Quechua, it is a co-production between Peru (Mosaico), France (Dublin Films), and Colombia (La Selva Cine). It tells the story of two brothers raised in a remote part of the Ayacucho highlands by their father, a local artisan. They discover their origins and the reason for their isolation after living for three days with their father’s corpse, longing for him to wake up.<\/p>\n

For five years, the production team led by Illari Orccottoma traveled to Sarhua to build relationships of trust with the population. After consultation with local authorities, the filming took place in 2021, with natural actors from the community. The leading roles are played by Jorge Pomacanchari, Sarhua<\/a>‘s master board painter, and children Gisela Yupa and Cleiner Yupa, aged eleven and six, respectively, during the filming.<\/p>\n

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Barbuy was in charge of writing, directing, and scoring the film. He is 37 years old, was born in Lima, and studied musical composition. He is currently dedicated to research in pedagogy. Di\u00f3genes is his debut film. “I always wanted to make films, but I didn’t know I could. And it was by making this film that I realized that I can”. At the Malaga Festival, he won the award for Best Ibero-American Film in the Zonazine section and the Silver Biznaga for Best Director. His film will be shown in Peruvian theaters in August as part of the Lima Film Festival. At the same time, Barbuy plans to offer it in Sarhua: “We want to screen it during the holidays in August. It’s nice because we filmed Diogenes during the holidays and because, during the holidays, many Sarhuinos come from other parts of the country to visit their relatives. It is a precious moment that will allow us to have a diverse audience at the screening”.<\/p>\n

The director hopes that the success of the Malaga Festival will help him secure international distribution for the film by the end of the year. Di\u00f3genes could be one of the essential releases in Peruvian cinema this season: it has received state support through competitive funds and comes on the heels of the success of other Peruvian films exploring the challenges of life in the Andes: among them, Oscar Catacora’s Wi\u00f1aypacha<\/a> <\/em>and Alvaro Delgado-Aparicio’s Retablo. Like the former, it explores the harshness of life in isolation. Like the second, it is connected to popular art: the Ayacucho retablo in Delgado-Aparicio’s film, and the Sarhua boards in Barbuy’s film.<\/p>\n

But Diogenes<\/em> differs from its predecessors in its quirky character: more than a film in a traditional sense, it is a visual poem reminiscent of Soviet cinema or the metaphysical style of B\u00e9la Tarr. A reflective film in which the action takes a back seat, and the narrative moves thanks to a sophisticated work of sound and photography. The latter was in the hands of a creative tandem: Colombian cinematographer Mateo Guzm\u00e1n and Peruvian-Mexican photographer Musuk Nolte<\/a>, part of the VIST team.<\/p>\n

Two weeks ago, we talked to Leonardo Barbuy via Zoom: at the time, he was in Toulouse, presenting his work at the Cin\u00e9latino festival. The conversation was about the shooting experience, the role of photography in the film’s conception, and the relationship between his two passions: music and cinema.<\/p>\n

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How did you go from the dream you told me to shoot the film in Sarhua?<\/span><\/strong><\/p>\n

 <\/p>\n

I spoke with a dear anthropologist friend, Sandra Rodriguez, who accompanied me in developing the film. We began to investigate cases of isolation in the highlands. Although we could not gather much information, we found that isolation usually occurs alone. So, to sustain this isolation, there must be some exchange, for example, making handicrafts that can be exchanged in the village for food. That also occurs in the company of dogs since the peasant patrols generally do not protect the people who isolate themselves because they no longer contribute to the village, etc. And so the plot of the film was configured.\u00a0<\/span><\/p>\n

 <\/p>\n

On the other hand, Musuk Nolte’s influence was decisive. Musuk has been a friend of mine for a long time, and we always talk about the projects we are working on. In this case, I asked him for photos while writing the script. And in the middle of this process, I was able to meet in Lima with Elizabeth Canchari, the director of the Nuestra Se\u00f1ora de Asunci\u00f3n school in the Sarhua district, through contact from anthropologist Josefa Nolte, who has a link with this town as a result of a study she did there. Together with Illari Orccottoma, the producer, we asked Elizabeth if it seemed pertinent to develop the film in her town. Obviously, we were familiar with the Sarhua tablets, and we think they are incredible, mainly because of their link to the memory record. They also have a connection, perhaps not directly, with cinema but with the work of framing.\u00a0<\/span><\/p>\n

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“During the writing process, I was accompanied by Musuk’s photos. He has portrayed the Andean highlands in black and white. And I wrote the film taking his photos as a reference. Photography became, in fact, a central aspect of the narrative and the mise-en-scene: specifically, the handling of contrasts and the construction of light inside the house. There was intense work with fire, night, and deep darkness.”<\/strong>
<\/b><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila 50-50″ module_class=”vst-cnt-img-x2″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”|25px||25px|false|false” custom_padding_phone=”|20px||20px|false|false” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|10px|0px|0px|false|false” custom_padding_tablet=”|5px|||false|false” custom_padding_phone=”|0px|||false|false” custom_padding_last_edited=”on|phone” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” custom_css_main_element_last_edited=”on|desktop”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|10px|false|false” custom_padding_tablet=”|||5px|false|false” custom_padding_phone=”|||0px|false|false” custom_padding_last_edited=”on|tablet” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

When I told Elizabeth the story, she agreed to help us immediately. She took us to Sarhua, introduced us to the authorities and from the very first moment we felt that those people were happy to have the film take place there. It was a five-year process of going back and forth, working directly with the people, and writing in the bond. It is a film made very much hand in hand with the people of Sarhua.\u00a0<\/span><\/p>\n

 <\/p>\n

One of the most exciting aspects is the photography. How did you work on it?\u00a0<\/span><\/strong><\/p>\n

 <\/p>\n

During the writing process, I was accompanied by Musuk’s photos. He has portrayed the Andean highlands in black and white. And I wrote the film taking his photos as a reference. Photography became, in fact, a central aspect of the narrative and the mise-en-scene: specifically, the handling of contrasts and the construction of light inside the house. There was intense work with fire, night, and deep darkness.<\/span><\/p>\n

\u00a0It was very nice because we worked on that proposal with Musuk, and then Mateo Guzm\u00e1n, an excellent Colombian cinematographer, joined the team. They both agreed to work together, which is tremendous. It was a brutal collaboration.<\/span><\/p>\n

 <\/p>\n

The sound is another very elaborate aspect of the film. For example, there is a lot of use of whispered voices, and the music has a discreet but effective presence<\/strong>.\u00a0<\/span><\/p>\n

\u00a0I was in charge of the music: I’m a trained composer. But I have yet to be much of a composer. I decided to stay away from that academic circle. But with this work, I feel I have re-friended that world a little.\u00a0<\/span><\/p>\n

\u00a0The idea was to think of the whole film as a soundtrack and not just look for which parts needed incidental music. I was interested in abandoning the notions of diegetic and extra-diegetic: to merge the two as much as possible so that you don’t know if the musicians are playing there or to suggest that the music could come from the memories of the characters. The only clearly diegetic music is that of the funeral song scene: it had to be that way because working with that group of women was very powerful; what they sang extensively impacted us.<\/span><\/p>\n

<\/span><\/p>\n

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 <\/p>\n

As for the music I composed for the film, there was a previous research work in which I collected Sarhua music made with instruments such as the chilili, the chirisuya, the waqrapuku, or the sweet flutes used in the huayno. There were also some harawis and the singing of the San Gregorio. The original music is based precisely on the San Gregorio, and includes nods to the tune of a celebration known as ‘la herranza.’ I find this relationship interesting because ‘la herranza’ is about beginnings; it is a music of hope, of searching for new futures, while the San Gregorio is a funeral chant. The film includes these two aspects: a look to the future, but also the presence of death.<\/span><\/p>\n

 <\/p>\n

Let’s talk about the remarkable performances. How did you achieve this result with non-professional actors?<\/span><\/strong><\/p>\n

 <\/p>\n

Jorge Poma Canchari, the actor who plays Diogenes, is a master board painter from Sarhua. He was one of the first people we met during the research, and from the first moment, we were very impressed by his sensitivity. The first photo we took of him with Musuk ended up becoming the penultimate frame of the film: it is a shot of him approaching Jorge, who is looking directly at the camera, with some dogs barking behind him. That first photo marked the significance of the visuality of the faces in Diogenes.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular 10-90″ _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:10%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:90%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” custom_css_main_element_last_edited=”on|tablet” custom_css_main_element_tablet=”width:100%!important;” custom_css_main_element_phone=”width:100%!important;”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|desktop” admin_label=”Fila quote” module_class=”vst-cnt-img-x2″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”|25px||25px|false|false” custom_padding_phone=”|20px||20px|false|false” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-quote” _builder_version=”4.15.1″ _module_preset=”default” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

<\/b>“I am interested in post-violence: what happens to those born after the conflict. And how they perceive violence from indirect signs. There is a process of the signification of violence not lived, but present in the processes of upbringing, in the fears, in the stories, in the things they don’t let you see, in the silences.”<\/strong><\/p>\n

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A few months earlier, we met Gisela and Cleiner in some acting workshops we did with casting director Beto Benitez. From the first moment, it was clear it would be with them. And when we did the casting, it was brutal: that night, we looked at each other and said: how incredible Gisela is. I felt in her gaze and in her gestures in front of the camera a depth that seemed unnoticed even by her. And she had no hesitation in front of the camera. She was forthright. <\/span>\u00a0<\/span><\/p>\n

Cleiner is like that, too: he doesn’t give a damn about the camera. His character is self-absorbed in his universe, he’d rather sleep than be awake, like Cleiner himself, who fell asleep on set all the time, and we decided to take advantage of that. Cleiner had no problem with that.<\/span>\u00a0<\/span><\/p>\n

<\/span><\/p>\n

In the film, violence is shown obliquely. It is almost not seen. The reference to the period of the internal armed conflict is important, but you present it only through Sarhua’s boards. Why were you interested in developing this kind of treatment?<\/strong>\u00a0<\/p>\n

I am interested in post-violence: what happens to those born after the conflict. And how they perceive violence from indirect signs. There is a process of the signification of violence not lived but present in the methods of upbringing, the fears, the stories, the things they don’t let you see, and the silences. I am interested in the place of those raised by those who have lived violent processes. And that is reflected in the film.<\/span><\/p>\n

 <\/p>\n

Have you been influenced by other recent Peruvian films in the Andes, such as Retablo<\/em> or Wi\u00f1aypacha<\/em>?<\/span><\/strong><\/p>\n

\u00a0I saw Retablo<\/em> at some point and realized I was going down a different path. On an aesthetic level, Retablo<\/em> explores the chromatic range and framing of the altarpiece and suggests that we are all like the figures in the altarpiece. It’s something I could have done with the Sarhua boards: framing the film in its visuality. But I was interested in something else. Wi\u00f1aypacha<\/em> had a more significant influence and impact. Some aspects greatly inspired me: the portrayal of life in an isolated house and the relationship with the landscape. But I felt that I could never make a film like that and was making a film from another place.<\/span><\/p>\n

\u00a0There is another kind of cinema that has influenced me more: for example, Semih Kaplanoglu’s film\u00a0<\/span>Honey<\/span><\/em>, from the Yusuf trilogy. It is a compelling trilogy in which each film is better than the previous one. I should also mention The Turin Horse by B\u00e9la Tarr and \u00c1gnes Hranitzky. It is not one of my favorite films, but Diogenes<\/em> has some relation to that universe. Soviet cinema is another influence, particularly the cinema of Klimov. I also like Tarkovski a lot, and when I was young, I was a big fan of Robles Godoy. There are many influences, not necessarily direct. Maybe some things will remain.<\/span><\/p>\n

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Why did you decide to switch to cinema?<\/span><\/strong>\u00a0<\/span><\/p>\n

\u00a0I feel that there is a robust continuity between music and film: the script of Di\u00f3genes is very resonant. Besides, the film allowed me to explore different ways of working, not only from the conventional routes of cinematographic narrative. Aspects such as counterpoint, juxtaposition of material, or treatments of time come from music. If we think, for example, of the shot of the dead dog that appears at the beginning and then the death of the father, to whom the children apply the same ritual, it’s like what happens in a piece of music when you take the material of the introduction and reveal it more deeply. There are several things I’ve thought about from my experience as a composer.<\/span><\/p>\n

 <\/p>\n

What was the audience’s response at the Malaga Festival?<\/span><\/strong><\/p>\n

\u00a0There has been a lot of interest, and many people moved to Malaga, especially to Toulouse, a very cinephile place close to Latin American cinema. One comment that was repeated a lot is that, although it is a challenging film, it invites the viewer to inhabit it. I have been told that giving oneself over to settling the film has been very pleasant.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\t\n\t\t\n\t<\/g>\n\t<\/svg><\/a>Di\u00f3genes tells a story of isolation and death in the Andes. It is also a sophisticated visual artifact in which photography – by Mateo Guzm\u00e1n and Musuk Nolte – plays a leading role. Chosen as the Best Ibero-American Film in the Zonazine section of the Malaga Festival 2023, Leonardo Barbuy’s debut feature will be released […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"[et_pb_section fb_built=\"1\" custom_padding_last_edited=\"on|tablet\" module_class=\"vst-tm-entrevista\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"100%\" module_alignment=\"center\" min_height=\"100vh\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"100px|0px|100px|0px|true|false\" custom_padding_tablet=\"70px||||false|false\" custom_padding_phone=\"\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_row use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-intro\" _builder_version=\"4.15\" 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theme_builder_area=\"post_content\"]\n\nDi\u00f3genes<\/span><\/i> narra una historia de aislamiento y de muerte en los Andes. Es tambi\u00e9n un sofisticado artefacto visual en el que la fotograf\u00eda \u2014a cargo de Mateo Guzm\u00e1n y Musuk Nolte\u2014 tiene un papel protag\u00f3nico. Elegida como la Mejor Pel\u00edcula Iberoamericana en la secci\u00f3n Zonazine del Festival de M\u00e1laga 2023, la \u00f3pera prima de Leonardo Barbuy ser\u00e1 estrenada en Per\u00fa en agosto. En esta entrevista, el director reflexiona sobre el papel de la fotograf\u00eda como motor narrativo en el cine, y comenta el trabajo que llev\u00f3 a cabo en Sarhua, una comunidad andina, donde est\u00e1 ambientada la pel\u00edcula.<\/span>\n\nPor Alonso Almenara<\/span>\n\n[\/et_pb_text][et_pb_text _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||50px||false|false\" locked=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u201cTodo empez\u00f3 con un sue\u00f1o\u201d, recuerda Leonardo Barbuy. \u201cEn el sue\u00f1o vuelve una de las im\u00e1genes que mejor conservo de mi infancia, de cuando iba a la casa de mi abuela, en la sierra central del Per\u00fa. Ah\u00ed ve\u00eda casitas de pastoreo aisladas. Y en el sue\u00f1o veo una de esas casitas. Me acerco y veo que adentro hay un hombre muerto. Un hombre que no reconozco\u201d.<\/span>\n\nAl despertar, el cineasta peruano asoci\u00f3 esas im\u00e1genes v\u00edvidas al v\u00ednculo que tiene con sus hijos. \u201cAh\u00ed naci\u00f3 la pregunta de qu\u00e9 suceder\u00eda si este hombre hubiese muerto mientras cuidaba a dos ni\u00f1os en una circunstancia de aislamiento\u201d. De esta idea naci\u00f3 la pel\u00edcula <\/span>Di\u00f3genes<\/span><\/i>, ambientada en el pueblo de Sarhua, en la sierra sur del Per\u00fa. <\/span>\n\nRodada \u00edntegramente en quechua, es una coproducci\u00f3n entre Per\u00fa (Mosaico), Francia (Dublin Films) y Colombia (La Selva Cine). Cuenta la historia de dos hermanos criados en un lugar remoto de la sierra ayacuchana por su padre, un artesano local. Ellos descubren sus or\u00edgenes y el porqu\u00e9 de su aislamiento tras convivir tres d\u00edas con el cad\u00e1ver del padre, anhelando que despierte.<\/span>\n\nDurante cinco a\u00f1os, el equipo de producci\u00f3n liderado por Illari Orccottoma viaj\u00f3 a Sarhua para generar relaciones de confianza con la poblaci\u00f3n. Luego de un proceso de consulta con las autoridades locales, el rodaje se llev\u00f3 a cabo en 2021, con actores naturales de la comunidad. 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Tiene 37 a\u00f1os, naci\u00f3 en Lima y estudi\u00f3 composici\u00f3n musical. Actualmente se dedica a la investigaci\u00f3n en pedagog\u00eda. <\/span>Di\u00f3genes<\/span><\/i> es su \u00f3pera prima. \u201cRealmente siempre quise hacer cine, pero no sab\u00eda que pod\u00eda. Y fue haciendo esta pel\u00edcula que me he dado cuenta de que s\u00ed puedo\u201d. En el Festival de M\u00e1laga, no solo consigui\u00f3 el premio a la Mejor Pel\u00edcula Iberoamericana en la secci\u00f3n Zonazine, sino tambi\u00e9n la Biznaga de Plata a la Mejor Direcci\u00f3n. Su filme llegar\u00e1 a las salas de cine peruanas en agosto, en el marco del Festival de Cine de Lima. En simult\u00e1neo, Barbuy piensa mostrarla en Sarhua: \u201cQueremos proyectarla durante las fiestas, en agosto. Es bonito porque filmamos <\/span>Di\u00f3genes<\/span><\/i> durante las fiestas, y porque en las fiestas llegan muchos sarhuinos de otros lugares del pa\u00eds para visitar a sus familiares. Es un momento muy preciado que va a permitir que haya un p\u00fablico diverso en la proyecci\u00f3n\u201d.<\/span>\n\nEl director espera que el \u00e9xito obtenido en el Festival de M\u00e1laga le ayude a asegurar una distribuci\u00f3n internacional para el filme hacia fines de a\u00f1o. <\/span>Di\u00f3genes<\/span><\/i> podr\u00eda ser uno de los lanzamientos importantes del cine peruano esta temporada: ha recibido apoyo estatal a trav\u00e9s de fondos concursables, y llega tras el \u00e9xito de otras pel\u00edculas peruanas que exploran los retos de la vida en los Andes: entre ellas, <\/span>Wi\u00f1aypacha<\/span><\/i><\/a>, de \u00d3scar Catacora, y <\/span>Retablo<\/span><\/i>, de \u00c1lvaro Delgado-Aparicio. Como la primera, explora la dureza de la vida en aislamiento. Como la segunda, est\u00e1 conectada a un tipo de arte popular: el retablo ayacuchano en la pel\u00edcula de Delgado-Aparicio, las tablas de Sarhua en la de Barbuy.<\/span>\n\nPero <\/span>Di\u00f3genes<\/span><\/i> se diferencia de sus predecesoras por su car\u00e1cter no convencional: m\u00e1s que una pel\u00edcula en un sentido tradicional, es un poema visual reminiscente del cine sovi\u00e9tico, o del estilo metaf\u00edsico de B\u00e9la Tarr. Una pel\u00edcula contemplativa en la que la acci\u00f3n pasa a un segundo plano, y la narrativa se mueve gracias a un trabajo sofisticado de sonido y de fotograf\u00eda. Este \u00faltimo apartado estuvo en manos de un t\u00e1ndem creativo: el director de fotograf\u00eda colombiano Mateo Guzm\u00e1n y el fot\u00f3grafo peruano-mexicano <\/span>Musuk Nolte<\/span><\/a>, parte del equipo VIST.<\/span>\n\nHace dos semanas conversamos con Leonardo Barbuy por Zoom: en esos d\u00edas, \u00e9l se encontraba en Toulouse, presentando su trabajo en el festival Cin\u00e9latino. 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Comenzamos a investigar sobre casos de aislamiento en la sierra, y aunque no pudimos recabar mucha informaci\u00f3n, averiguamos que el aislamiento ocurre normalmente en solitario, y que para sostener ese aislamiento tiene que haber alg\u00fan tipo de intercambio, como, por ejemplo, realizar productos artesanales que pueden intercambiarse en el pueblo por v\u00edveres. Esto se da adem\u00e1s en compa\u00f1\u00eda de perros, ya que las rondas campesinas generalmente no protegen a las personas que se a\u00edslan, porque ya no contribuyen con el pueblo, etc. Y as\u00ed se fue configurando la trama de la pel\u00edcula. <\/span>\n\nPor otro lado, la influencia de Musuk Nolte fue determinante. Musuk es amigo m\u00edo desde hace mucho tiempo y siempre conversamos de los proyectos en los que estamos trabajando. En este caso, yo le iba pidiendo fotos mientras escrib\u00eda el gui\u00f3n. Y en medio de ese proceso, logr\u00e9 reunirme en Lima con Elizabeth Canchari, la directora del colegio Nuestra Se\u00f1ora de Asunci\u00f3n, del distrito de Sarhua, por contacto de la antrop\u00f3loga Josefa Nolte, que tiene un v\u00ednculo con este pueblo a ra\u00edz de un estudio que hizo ah\u00ed. Junto con Illari Orccottoma, la productora, le preguntamos a Elizabeth si le parec\u00eda pertinente desarrollar la pel\u00edcula en su localidad. Obviamente conoc\u00edamos las tablas de Sarhua y nos parece que son incre\u00edbles, sobre todo por su vinculaci\u00f3n con el registro de la memoria. Adem\u00e1s tienen una conexi\u00f3n, tal vez no directa, con el cine, pero s\u00ed con el trabajo de encuadre. <\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"19206\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|desktop\" admin_label=\"Fila quote\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-quote\" _builder_version=\"4.15\" _module_preset=\"default\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"||||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|phone\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n<\/b>\n\n\u201cDurante el proceso de escritura me acompa\u00f1aron mucho las fotos de Musuk. \u00c9l ha retratado la sierra andina en blanco y negro. Y la pel\u00edcula la fui escribiendo tomando como referencia sus fotos. La fotograf\u00eda se convirti\u00f3, de hecho, en un aspecto central de la narrativa y la puesta en escena: espec\u00edficamente, el manejo de los contrastes y la construcci\u00f3n de la luz dentro de la casa. Hubo un trabajo intenso con el fuego, la noche, los oscuros profundos\u201d.<\/b>\n\n[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"19208\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nCuando le cont\u00e9 la historia a Elizabeth, ella acept\u00f3 ayudarnos de inmediato. Nos llev\u00f3 a Sarhua, nos present\u00f3 a las autoridades y desde el primer momento sentimos que esas personas estaban felices de que la pel\u00edcula se desarrollara ah\u00ed. Fue un proceso de cinco a\u00f1os, m\u00e1s o menos, de ir y volver, de trabajar directamente con el pueblo, de escribir en el v\u00ednculo. Es una pel\u00edcula que se ha hecho muy de la mano del pueblo de Sarhua. <\/span>\n\nUno de los aspectos m\u00e1s interesantes es la fotograf\u00eda. \u00bfC\u00f3mo la trabajaron? <\/b>\n\nComo te dec\u00eda, durante el proceso de escritura me acompa\u00f1aron mucho las fotos de Musuk. \u00c9l ha retratado la sierra andina en blanco y negro. Y la pel\u00edcula la fui escribiendo tomando como referencia sus fotos. La fotograf\u00eda se convirti\u00f3, de hecho, en un aspecto central de la narrativa y la puesta en escena: espec\u00edficamente, el manejo de los contrastes y la construcci\u00f3n de la luz dentro de la casa. Hubo un trabajo intenso con el fuego, la noche, los oscuros profundos.<\/span>\n\nFue muy bonito porque trabajamos esa propuesta con Musuk, y luego se integr\u00f3 al equipo Mateo Guzm\u00e1n, que es un excelente director de fotograf\u00eda colombiano. Ambos aceptaron trabajar juntos, lo cual es tremendo. Fue una colaboraci\u00f3n brutal.<\/span>\n\nEl sonido es otro aspecto muy elaborado en la pel\u00edcula. Se usa mucho la voz susurrada, por ejemplo, y la m\u00fasica tiene una presencia discreta pero efectiva. <\/b>\n\nYo me encargu\u00e9 de la m\u00fasica: en realidad soy compositor de formaci\u00f3n. Pero no me he dedicado mucho a la composici\u00f3n. Decid\u00ed alejarme de ese c\u00edrculo acad\u00e9mico. Pero con este trabajo siento que me he reamistado un poco con ese mundo. <\/span>\n\nLa idea fue pensar toda la pel\u00edcula como una banda sonora, y no solo buscar qu\u00e9 partes necesitaban m\u00fasica incidental. Me interesaba abandonar las nociones de lo dieg\u00e9tico y lo extradieg\u00e9tico: fundir ambas cosas lo m\u00e1s posible para que no se supiera si los m\u00fasicos est\u00e1n tocando ah\u00ed o no, o sugerir que la m\u00fasica pod\u00eda venir de los recuerdos de los personajes. La \u00fanica m\u00fasica claramente dieg\u00e9tica es la de la escena del canto f\u00fanebre: tuvo que ser as\u00ed porque trabajar con ese grupo de mujeres fue muy potente, lo que cantaban nos impact\u00f3 mucho. <\/span>\n\n<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px|auto|2px|auto|false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n \n\nEn cuanto a la m\u00fasica que compuse para la pel\u00edcula, hubo un trabajo previo de investigaci\u00f3n en el que recog\u00ed m\u00fasica de Sarhua hecha con instrumentos como el chilili, la chirisuya, el waqrapuku o las flautas dulces que se usan en el huayno. Hubo tambi\u00e9n algunos harawis y el canto del San Gregorio. La m\u00fasica original est\u00e1 basada, precisamente, en el San Gregorio, e incluye gui\u00f1os a la m\u00fasica de una celebraci\u00f3n conocida como \u2018la herranza\u2019. Me parece interesante esa relaci\u00f3n porque \u2018la herranza\u2019 da cuenta de inicios, es una m\u00fasica esperanzadora, de b\u00fasqueda de nuevos futuros, mientras que el San Gregorio es un canto f\u00fanebre. La pel\u00edcula incluye esos dos aspectos: una mirada al futuro, pero tambi\u00e9n la presencia de la muerte.<\/span>\n\nHablemos de las actuaciones, que son realmente notables. \u00bfC\u00f3mo conseguiste ese resultado con actores no profesionales?<\/b>\n\nJorge Poma Canchari, el actor que hace de Di\u00f3genes, es un maestro pintor de tablas de Sarhua. Fue una de las primeras personas que conocimos durante la investigaci\u00f3n, y desde el primer momento nos impact\u00f3 mucho su sensibilidad. La primera foto que le hicimos con Musuk termin\u00f3 convirti\u00e9ndose en el pen\u00faltimo cuadro de la pel\u00edcula: es un plano que se va acercando a Jorge, quien mira directamente a la c\u00e1mara, con unos perros ladrando detr\u00e1s. Esa primera foto marc\u00f3 el significado de la visualidad de los rostros en <\/span>Di\u00f3genes<\/span><\/i>.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|tablet\" custom_css_main_element_tablet=\"width:100%!important;\" custom_css_main_element_phone=\"width:100%!important;\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"19204\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|desktop\" admin_label=\"Fila quote\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-quote\" _builder_version=\"4.15\" _module_preset=\"default\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"||||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|phone\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n<\/b>\n\n\u201cA m\u00ed me interesa la post-violencia: lo que ocurre con los que nacen despu\u00e9s del conflicto. Y c\u00f3mo ellos perciben la violencia a partir de signos indirectos. Hay un proceso de significaci\u00f3n de una violencia no vivida, pero presente en los procesos de crianza, en los temores, en los relatos, en las cosas que no te dejan ver, en los silencios.\u201d<\/b>\n\n[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nUnos meses antes hab\u00edamos conocido a Gisela y a Cleiner en unos talleres de actuaci\u00f3n que hicimos con el director de casting Beto Ben\u00edtez. Desde el primer momento fue clar\u00edsimo que ser\u00eda con ellos. Y cuando hicimos el casting fue brutal: esa misma noche nos miramos y dec\u00edamos: pero qu\u00e9 incre\u00edble que es Gisela. Sent\u00ed en su mirada y en su gestualidad frente a la c\u00e1mara una profundidad que parec\u00eda inadvertida incluso por ella. Y no ten\u00eda ning\u00fan titubeo frente a la c\u00e1mara. Era muy directo. <\/span>\n\nCleiner es as\u00ed tambi\u00e9n: la c\u00e1mara no le importa un carajo. Su personaje est\u00e1 ensimismado en su propio universo, prefiere dormir a estar despierto, como el propio Cleiner que se dorm\u00eda en el set todo el tiempo y decidimos aprovecharlo. Cleiner no ten\u00eda ning\u00fan problema con eso.<\/span>\n\nEn la pel\u00edcula la violencia es mostrada de manera oblicua, casi no se ve. La referencia a la \u00e9poca del conflicto armado interno es importante, pero la presentas solo a trav\u00e9s de las tablas de Sarhua. \u00bfPor qu\u00e9 te por qu\u00e9 te interes\u00f3 desarrollar este tipo de tratamiento?<\/b>\n\nA m\u00ed me interesa la post-violencia: lo que ocurre con los que nacen despu\u00e9s del conflicto. <\/span>Y c\u00f3mo ellos perciben la violencia a partir de signos indirectos. Hay un proceso de significaci\u00f3n de una violencia no vivida, pero presente en los procesos de crianza, en los temores, en los relatos, en las cosas que no te dejan ver, en los silencios. Me interesa el lugar de quienes han sido criados por quienes han vivido los procesos violentos. Y eso se ve reflejado en la pel\u00edcula.<\/span>\n\nTe han influenciado otras pel\u00edculas peruanas recientes ambientadas en los Andes, como <\/b>Retablo<\/i><\/b> o <\/b>Wi\u00f1aypacha<\/i><\/b>?<\/b>\n\nVi <\/span>Retablo<\/span><\/i> en alg\u00fan momento y me di cuenta de que estaba yendo por un camino distinto. A nivel est\u00e9tico, <\/span>Retablo<\/span><\/i> explora la gama crom\u00e1tica y los encuadres del retablo, y sugiere que todos somos como las figuras que est\u00e1n en los retablos. Es algo que podr\u00eda haber hecho con las tablas de Sarhua: encuadrar la pel\u00edcula en su visualidad. Pero no era lo que me interesaba. <\/span>Wi\u00f1aypacha <\/span><\/i>tuvo una influencia y un impacto mayor. Algunos aspectos me inspiraron mucho: el retrato de la vida en una casa aislada, la relaci\u00f3n con el paisaje. Pero sent\u00ed que jam\u00e1s podr\u00eda filmar una pel\u00edcula as\u00ed, y que yo estaba haciendo una pel\u00edcula desde otro lugar.<\/span>\n\nHay otro tipo de cine que me ha influenciado m\u00e1s: por ejemplo, la pel\u00edcula <\/span>Miel<\/span><\/i> de Semih Kaplanoglu, de la trilog\u00eda Yusuf. Es una trilog\u00eda muy potente, en la que cada pel\u00edcula es mejor que la anterior. Deber\u00eda mencionar tambi\u00e9n <\/span>El caballo de Tur\u00edn<\/span><\/i>, de B\u00e9la Tarr y \u00c1gnes Hranitzky. No es una de mis pel\u00edculas preferidas, pero alguna relaci\u00f3n tiene <\/span>Di\u00f3genes<\/span><\/i> con ese universo. El cine sovi\u00e9tico es otra influencia, en particular el cine de Klimov. Tambi\u00e9n me gusta mucho Tarkovski, y de joven fui muy fan de Robles Godoy. Son muchas influencias, no necesariamente directas. Quiz\u00e1 algunas cosas van quedando. <\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"\"][\/et_pb_code][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u00bfPor qu\u00e9 decidiste pasarte al cine? <\/b>\n\nSiento que entre la m\u00fasica y el cine hay una continuidad muy fuerte: el gui\u00f3n de <\/span>Di\u00f3genes<\/span><\/i> es muy sonoro. Adem\u00e1s, la pel\u00edcula me permiti\u00f3 explorar formas distintas de trabajar, no solo a partir de las rutas convencionales de la narrativa cinematogr\u00e1fica. Aspectos como el contrapunto, la yuxtaposici\u00f3n de material, o tratamientos del tiempo que vienen de la m\u00fasica.<\/span> Si pensamos, por ejemplo, en la toma del perro muerto que aparece al inicio, y luego la muerte padre, al que los ni\u00f1os aplican el mismo ritual, es como lo que sucede en una pieza musical cuando retomas el material de la introducci\u00f3n y lo revelas de una forma m\u00e1s profunda. Hay varias cosas que he pensado desde mi experiencia como compositor.<\/span>\n\n\u00bfCu\u00e1l fue la respuesta del p\u00fablico en el Festival de M\u00e1laga?<\/b>\n\nHa habido mucho inter\u00e9s, mucha gente conmovida, en M\u00e1laga y sobre todo en Toulouse, que es un lugar muy cin\u00e9filo y muy cercano al cine latinoamericano. Un comentario que se repet\u00eda mucho es que, si bien es una pel\u00edcula retadora, invita al espectador a habitarla. Me han dicho que ha sido muy grato entregarse a habitar la pel\u00edcula.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":""},"categories":[3,272,11,280,279,285,278],"tags":[12,500,211,588,28],"acf":[],"yoast_head":"\nDiogenes: photography as the driving force of cinema - Vist Projects<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vistprojects.com\/en\/diogenes-photography-as-the-driving-force-of-cinema\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Diogenes: photography as the driving force of cinema - Vist Projects\" \/>\n<meta property=\"og:url\" content=\"https:\/\/vistprojects.com\/en\/diogenes-photography-as-the-driving-force-of-cinema\/\" \/>\n<meta property=\"og:site_name\" content=\"Vist Projects\" \/>\n<meta property=\"article:published_time\" content=\"2023-05-02T15:00:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-02T15:04:05+00:00\" \/>\n<meta name=\"author\" content=\"mvallejoq\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:description\" content=\"[vist_img_post_intro]\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"mvallejoq\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"32 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/vistprojects.com\/en\/diogenes-photography-as-the-driving-force-of-cinema\/\",\"url\":\"https:\/\/vistprojects.com\/en\/diogenes-photography-as-the-driving-force-of-cinema\/\",\"name\":\"Diogenes: photography as the driving force of cinema - 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