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Buenos Aires al Pacífico
© Zonda Films
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AUTEUR(S)-RÉALISATEUR(S)

Mariano Donoso Makowski

AUTEUR(S)

Mariana Guzzante

IMAGE

Lucas Kalik

MUSIQUE ORIGINALE

Manuel Alonso

PRODUCTION / DIFFUSION

Zonda Films

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Zonda Films

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

Autrefois, il existait un train capable de traverser l’Argentine et le Chili d’un extrême à l’autre. Un train rendant possible un voyage presque mythique : l’exploit de relier deux océans avec un seul billet. En 1979, le Buenos Aires Pacífico (BAP) faisait son dernier voyage, et les dernières lignes du côté argentin ont peu à peu été abandonnées au cours des années 90. Depuis lors, nous occupons ces chemins de fer comme nous occupons nos rêves, nos absences, nos désirs, nos souvenirs, des relations complexes qui font partie de notre histoire.

Life is but a dream, said a Spanish playwright, and a Chinese poet also stated something similar. It could be said, too, that life can be a nightmare. Donoso’s fourth film is a personal dream populated by multitudes. In it, we find his deceased mother and her sons; the paradoxical President Perón and his people; the Lumières and their trains; the last engine driver in a railway company before the first neoliberal movement in Argentina took this company apart; Marcel Proust as an actionist; Juan José Saer as a reference; Baruch Spinoza as a philosophical intuition. This is the dream of “The Century of Intentions,” or how a general system of movement could be doubled by images and sound in order to define the life of labor and spirit in the 20th century. Donoso’s dreams are staged in the ruins of a now-ghostly Argentina; and the same happens with the materials he gathers to establish a dialectic between what he films and yesterday’s archives. The result, as a whole, is a film about trains, cinema, and the body, in all its potentiality for labor and exploitation. (Roger Koza)

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