THIS FICTION FILM DOES NOT RECREATE THE HISTORY
OF CINEMATECA URUGUAYA OR ITS WORKERS
A USEFUL LIFE
ICELAND PROGRAMME
Fridriksson, yours.
Bragason, yours.
Oddsson, that's mine.
Gudmunsson, yours.
No Martínez, you watch Gudmunsson.
No problem.
Kormákur, yours.
These are shorts, some are good.
Will we do a programme of shorts or of both shorts and features?
- Shorts and features. - Very well.
Martínez...
This came in.
Martínez... it's 5:30.
"I never truckled.
"I never took off the hat to Fashion
"and held it out for pennies. I told them the truth.
"They liked it or not.
"What had that to do with me?
"It was the truth then and it's the truth now."
Frank Norris.
Gold, gold, gold! Bright and yellow,
hard, cold, sculpted, hammered, rolled in.
Hard to get, light to hold.
Borrowed and wasted dollars.
That was McTeague.
That was Mom McTeague.
Painless.
Painless tooth extractions, fillings from $2.
All work guaranteed, absolutely no pain.
Keep your teeth now.
You learn to watch films.
The best of all countries.
The best cinema of all times.
The best preview screenings.
At the Cinemateca you are now worth 2 people.
Find your soulmate,
and join the cinema.
Cinemateca outreach:
the best programming and films d'auteur
from all over the world, in our theaters.
You are both a witness to and participant in the cultural activities,
carried out for more than 50 years in Montevideo.
Today, the Cinemateca needs the support of its members.
Donation pledges are available at the box office windows
and in our administrative offices.
You love great cinema.
You need the Cinemateca.
The Cinemateca needs you.
Hello... Marga.
Yes, put him through.
Hello, papa?
So?
No... I went straight to Fernando's. What happened?
What did they tell her?
Oh...
Does mom want to stay with her?
OK.
I'm projecting, papa. I've gotta go.
Let's talk later.
Ciao, papa.
Welcome to the Cinemateca show here on Capital Radio.
The show for lovers of great cinema.
The Cinemateca's program for December,
is a series of Uruguayan films from this year.
It consists of the most important domestic productions
to have been commercially released in recent months.
There's also some of Cinemateca's favorite programmes.
including Italian cinema from the 1960s,
and classics of silent cinema.
But undoubtedly, the highlight this month at the Cinemateca,
is the retrospective on the work of the great Portuguese filmmaker,
Manoel de Oliveira.
Cinema was just 12 years of age,
when on December 11, 1908,
Manoel de Oliveira saw for the first time the light of Porto.
We're celebrating 100 years since this great filmmaker's birth.
His works are original, complex, personal
and beyond trends.
...pretty complicated. We're trying...
to fix the projectors in Room 2.
And...
We've found a bunch of....
...of unforseen problems.
A number of parts need to be replaced,
there's image and sound adjustments.
- Yeah. - Will it be done before the next season?
...before the next newsletter?
How about the projector?
- Does it need calibration? - Not particularly...
They're all off... it's a mess.
They have their wear, right?
Yeah.
I looked at them the other day.
It seems the rollers are tight. Maybe there's other issues too.
- Compressors? - Yes.
Yes...
The film thread is off-line, all kinds of problems.
One of the Russians up there....
Not the cosmonauts... the projectors up there...
- Yeah... yeah... - ...in the attic.
I'm not sure they will work in that room.
The lenses.
- they could be problematic? - Right.
They're for short distances, right?
It's not the focus, they have no light.
That's right.
Is it a quartz light, or...?
They require special bulbs.
- Xenon? - No, no. Russian bulbs.
They require a voltage that we don't use.
And there's a limited stock of them.
The projector is new, maybe adapting a lamp?
- It'll cost more than $15.000. - Maybe.
I think the telegram we received is important.
It's another telegram regarding our 8-month rent delinquency.
What I think is...
We should inform the Foundation about it.
If you want I can contact Iriarte Jr.
and schedule a meeting.
We should prepare a report on the state of things.
Include the debts, amounts past due,
film rights...
Will you prepare the report?
Well, yes.
I can do a draft...
and we'll look into it at the next board meeting.
The sooner the better. Maybe next week...
How long will it take to make the new parts?
Well, that's a bit relative...
The time it takes the turner to do things is...
...flexible.
At least a couple of weeks.
What will we do with the room?
There's a risk of being unable to show films in the meantime.
We can do either of two things:
Not to have shows those days...
...when the equipment is being repaired,
or resort to other...
other formats, like 16mm or digital.
- Alejandra... - Yes.
Do you have the membership figures for March?
4,783.
- 83? - Yes.
April?
4,330.
May?
3,687.
And June?
3,254.
URUGUAYANS OF THE YEAR MANOEL DE OLIVEIRA CENTENNIAL
DEMAND YOUR RIGHTS
- Jorge. - Hi there.
- How are you? - Good.
- Becoming a member? - No... to see the film you mentioned.
Oh, yes. Perfect. It's about to start.
It's a bit delayed, please come in.
Go ahead.
A white ticket please.
Sure thing.
- Thanks. - Yes.
- It's on the house. - Oh, thanks.
Hey Gonzalo.
- Sorry about the delay. - No problem.
It's all set up. We can do the introduction now.
- As you wish. - Come on in.
- All good? - Yes, all is good.
Great.
Cinemateca outreach:
The best programming and films d'auteur,
from all over the world in our theaters.
You're both a witness to and participant in these cultural activities,
carried out for more than 50 years in Montevideo.
Today, the Cinemateca needs the support of its members.
Donation pledges are available at the box office windows
and in our administrative offices.
You love great cinema.
You need the Cinemateca.
The Cinemateca needs you.
Good afternoon, thank you for coming.
For the Cinemateca, it is great pleasure...
to present today the film "Febrero,"
by Uruguayan director Gonzalo D. Galiana.
This film was shown commercially with great success.
It was awarded at international festivals.
Today it's shown along with...
a short film,
which Gonzalo made at the...
San Antonio Film School in Cuba:
"Zacaría é morto."
Please welcome the film director.
Thanks a lot. It's important for me,
it's an honor being in this house,
the Cinemateca, where I saw the first films,
the ones that encouraged me to pursue a film career,
so thanks a lot, I hope you enjoy them.
- Name of the deceased? - Zacaría.
Marcos? It's Jorge...
Can you turn up the volume 1.5 points?
Which plates are we using?
Perfect, thanks.
The aperture plates were...
filed down, and we reduced the frame.
But it's barely noticeable.
You do notice, but it's OK.
OK Gonzalo, thanks a lot.
- Thanks you. - So long.
- See you later. - Later.
Thanks Marga.
Let's go for a coffee.
Wanna go for a coffee?
- Paola. - Jorge.
You saw it again?
No, I had things to do.
And I wanted your opinion. Did you like it?
Interesting. A bit long, but I liked it.
It's good. It'll grow on you, you'll see.
Do you work right here or in another office?
No, no. Right here... every day... for 25 years.
- Incredible. - Yes.
Care for a coffee?
- Now? - Yes.
I have some exams to grade for tomorrow.
- Some other day? - Sure.
Here's the new newsletter.
- Oh, thanks. - In case you want to come.
- Thanks again for the invitation. - No... please. It's my pleasure.
I'll go do those exams now.
- See you some other day. - Yes, sure.
- Ciao. - Ciao.
- Have fun. - Thanks.
Good evening.
Welcome to the Cinemateca's show,
here on Capital Radio.
The show for lovers of great cinema.
We have a special show today...
about an important topic:
The spectator's education.
Joining us today,
is our director: Martínez.
He will discuss how the Cinemateca
has addressed this task of educating...
...of somehow cultivating...
an audience of cinephiles.
Martínez...
Let's see...
People think knowing about film is being able to memorize
the works of an actor, director or producer.
In such cases they confuse erudition...
...the dictionary with its contents.
It's may well be important to know...
the great film auteurs careers,
but not as a memory exercise,
or as superfluous trivia.
That's the first thing important to distinguish.
Cinema is neither...
a collection of cards nor a collection of trivia.
Trivia tends to conceal reality.
Ultimately, what trivia does is to consolidate,
to crystallize information, and nothing else.
It is more difficult to... understand...
...how the enrichment of the spectator occurs.
It certainly occurs through...
accessing and viewing film works,
creative works.
And how do you...
How do you explain the way it echoes in a spectator...
Maybe we could call them... an educated spectator,
but that's the wrong term.
It's an alert, sensitive spectator.
Let's say... Alexander Nevsky's Battle of the Ice
Sergei Eisenstein's movie with music by Sergei Prokofiev.
What we have is...
an apparently cold, formal exercise,
where the camera doesn't move but there seems to be motion,
and there are 6 or 7 lines of melody,
from Shostakovich, I mean Prokofiev composition,
and the relationship between the framing of each image.
To such extent that,
if you compare the music sheet...
and its movements to the images, the movements coincide.
This is to explain how it is made and why that sequence...
has such an overwhelming impact on the spectator.
It is explained in that manner.
But when the fifes kick in for instance,
there's a relationship...
of who is at that time...
getting the spectator's attention.
They underline and magnify that tension.
All of this is impossible to perceive in a first viewing,
as you don't see Citizen Kane's structure in a first viewing.
This isn't erudition at all.
It's putting a finger on certain things
such as the structure of a cinematic work...
the same as with a novel, a sculpture or a music composition.
What does it mean?
It means a film is not just telling a plot,
but what the plot motivates...
Certain film expressions which ultimately...
will either move the spectator or not.
OK, we'll be right back with...
here on the Cinemateca's show on Capital Radio,
discussing these interesting topics
and we'll also talk about the programme at the Cinemateca's for this month.
Gorostiza? How are you?
Yes. Should I read it?
In eviction proceedings initiated by Benitez & Benitez Associates
against the Cinemateca requested by the plaintiff,
and under this court decision as such,
I require eviction of the property
located at Baldomir 2429 within a period of 10 days.
You've also been given 10 days to file an appeal,
but we've been unable to notify you in person,
in spite of attempts to contact you at your domicile,
You are therefore hereby served this notice.
Yes, that's what it says.
- Hello. - Hello.
We've met with the rest of the Foundation members,
in an unscheduled meeting,
because the situation is truly critical.
You may have noticed,
we've reduced our support for the Cinemateca as of late.
Since we began supporting Cinemateca 10 years ago...
we've tried to accommodate
and satisfy all of your requests.
The situation has now changed,
and the Foundation needs to make a decision that we regret.
It's a decision we've been considering for some time,
and now we are forced to implement it.
We won't be able to support the Cinemateca,
as we can no longer support cultural institutions
that are not economically profitable.
I...
I repeat, it is in spite of me,
and other members of the Foundation.
Unfortunately, we will not continue to support...
the Cinemateca since it is not...
a profitable project from a financial point of view.
No thirst, no hunger,
synthesis of all horses in the world
My horse with no ribs,
My one-line horse
My wooden horse gallops untiring between two matinées
It got lost with childhood, it got lost
I had another later... another later... another later
I had another horse later
The horse born on the beach
Seafaring horse, nocturnal, stay-up-all-night horse
Tied-up in the jungle mane
Galloping Tom Mix
Jungle-beard
My green horse my dream gripped to its beard
The seafaring horse one, two, three
Building the day the horse, the vigor
Of all horses all horses in the world
Building the day the horse, the vigor
Of all horses all horses in the world
Building the day the horse, the vigor
Of all horses all horses in the...
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
And I am out of legs
Useless and still like a mutilated wind
With my two lost horses
So much distance now so much distance
- Hello. - Hello.
- Phone book? - Yes.
Here.
Hello, Law School?
Criminal Law Department please.
Criminal Law Department?
I need to speak to Paola Galván please.
Hello, Paola?
Jorge here, from the Cinemateca.
Sure, fine.
Look... I wanted to know if you had class today.
Ah. Sorry. No. No... they didn't say anything.
What time you get out?
9:00?
OK. I'm sorry again.
Hello, papa?
Yes. Yes, everything's fine. Any news?
Good.
And... papa... don't expect me for dinner, okay?
No... I have things to do.
Fine.
I have to go now, papa. Yes.
Yes. Ciao papa.
STATE UNIVERSITY SCHOOL OF LAW
- Thanks. - You're welcome.
Excuse me.
Are you the substitute teacher?
Yes.
Lying is universal.
We all lie.
We all must lie.
The wise thing is to lie with a good end in mind.
We must lie to ensure that others profit.
In other words, we must lie charitably...
... humanely.
We must lie frankly, squarely.
With the head held high.
We must not lie out of self interest or out of cruelty.
We must not lie...
...haltingly or tortuously.
We must not lie as if ashamed of our lying.
Lying is noble.
Let's rid the world of the truth that is rotting it.
Lying shall make us great,
and good...
...and beautiful.
We're worthy dwellers on a planet where even Nature lies.
But I am a new, feeble student in this gracious art.
I cannot instruct this fine society.
Let us lie, but knowingly.
Lying is an inescapable law.
But let us know when to lie and when not to lie.
Who can tell when to lie is fitting or it must be avoided?
This law is inescapable.
Lying may only be performed thoroughly
by a association such as yours...
...composed of people...
whose long professional experience...
...proves them masters in the art of lying.
You can't do that.
Come this way, please.
This way, please.
- Good afternoon. - Afternoon.
- A trim? - Yes.
What do you think?
Yes, yes. Perfect.
- How much is it? - 200 pesos.
- Here you go. - Thanks a lot.
Paola.
Jorge?
- What's up? - How are you?
I wondered if you were free to go to the movies.
The movies?
Yes.
- OK, I'll call you. - OK.
Now.
Now?
Yes.
All right. Let's go.