Is the idea of an impossible relationship present in the film as if love were like emotional fragments in a social convulsion?
Is this evocative impossibility of a relationship through tears of love a metaphor of the actual situation in Argentina?
In the society in which we live there is a fixed idea that criminalizes poverty from all areas, and in all senses. Particularly in Córdoba, Argentina, this idea becomes somewhat more palpable and even more evident. It seems that access to the city is limited by a relationship of class membership. And so, certain traits and aspects become determining for a daily transit with freedoms. In a certain expulsive way. This difference also applies to how social ties are established and how segregation becomes manifest.
Part of that hostile territory is heart-breaking for me and arouses some interest in approaching it from a different point of view. Perhaps as a metaphor, yes, to the desire/longing lodged in the possibility of a utopian relationship, where the affective, the affection, the love for the other, blur all possible limits.
The motorbike is a lonesome vehicle, there’s only space for one more person. How did this incursion through the streets of Córdoba come about, when the motorcycle has a double meaning: escaping and coming back?
The possibility of a double meaning, such as escape and return, is interesting. Particularly in the city of Córdoba, the figure of the motorcycle has a negative symbolic charge that is linked to the criminalization of poverty. In this same line of thought, we could reflect on the double meaning that the motorcycle awakens in us regarding freedom and oppression, the real and the poetic, the possible and the impossible. This game of meaning becomes a key element with which we allow ourselves to blur and enter certain problems, as a way of letting ourselves be trapped by the meaning that was built for it, so that we can allow ourselves to escape. The motorcycle as an element that gives us that possibility of movement. It puts into play certain aspects of the social order, and thus move us from the harsh reality in which we are immersed to the possibility of a better and fairer world.
There is certainly a unique kindness in the use of music and dialogues. How did this harmony originate? Was it carefully thought out or more intuitively planned during the editing process?
I appreciate the recognition regarding research reflected in the film. As an initial idea of approach and construction, I was interested, together with the protagonists, in the challenge of being able to generate a certain atmosphere. It would allow a certain harmony and climate of intimacy to be produced, between an emotional bond and the chaos of the city. Harmony, that I find interesting in certain cinema trends in which silence carries a multiplicity of meanings, that give us the possibility of a different active participation as spectators. In this way, the montage ends up defining that dialogue, thus allowing such musical and sound particularity throughout the film. Also note that to reach this construction, the joint work with Julia Castro in sound post-production allowed to materialize those ideas that were established from the beginning.
