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JUANA SAPIR presents a retrospective of Raymundo Gleyzer

images of a fighter

Gleyzer and soundman Widow of his films, discusses the methods and resources had to be put into play at times turbulent recent history in Argentina. "We did film to raise awareness and that remains today," he says.

By Oscar Ranzani

http://www.pagina12.com.ar/diario/suplementos/espectaculos/5-21645-2011-05-10.html

"It is clear to us that cinema is a counter-weapon. Not a military-type weapon. It is an information tool for the base. That is the other value of the cinema at this time of struggle. Thus we understand that cinema is a weapon. " So thought the director Raymundo Gleyzer , creator of political classics as The traitors and founder of the Film Group Base, which sought to bring their productions to schools , universities, villages and factories, because he understood that cinema was a powerful tool for social and political transformation. Kidnapped by a task force on May 27, 1976 and disappeared by the dictatorship, Gleyzer left a work that even today a matter of analysis and set a style document the realities of a turbulent time.

"At that time, we did the film to contribute from our ideology and our principles from what we thought appropriate to raise awareness. All that is now as current as it was before " says his life partner Juana Sapire, who was the soundman for his films. Sapire traveled to Argentina to present a retrospective of Gleyzer every Thursday in May at the Cultural Center Cooperation (see separate article) and to teach a seminar director Neither forget nor forgive and Film Base (also in the Cultural Center of Cooperation, Corrientes 1543) on 23 and 24 of this month.

Raymundo Gleyzer six months he had studied at the Faculty of Economics, but soon realized that was not what interested him. It was then decided to change his vocation and began studying filmmaking at the University of La Plata. He then worked in the news Telenoche, which then led Monica Cahen D'Anvers and Andrés Percivale. Among its work, highlighted the special report "Our Malvinas Islands." "He worked in a time when the news was directed by Tomas Eloy Martinez, a journalist with race, intelligence, very knowledgeable, "said Sapire. He added that Raymond "had a very good camera and a special sensitivity." In addition, another of his characteristics was that he sat waiting for a job will tell, but proposed special notes. "And so he sought permission from the Queen of England to step on the Falklands. The queen ordered the permit, but only for one person. And Raymond was hung the camera, I gave my stereo, and went alone to the Falklands. "

In 1971, a few years later, shot Gleyzer one title that would become classics: Mexico, the Frozen Revolution , setting out an analysis of the Mexican reality after the rebellion that marked a before and after the twentieth century Latin American history.
"With Raymond said, 'What is the most important revolution of the century in Latin America?" We started investigating and came to the conclusion that it was Mexico's, because it is Pancho Villa, Zapata, "says Sapir. And narrates the genesis of the project for two and a half years the couple traveled to various countries in Europe knowing historic sites and providing audiovisual work as a means of subsistence (Gleyzer Sapire that was a true love of travel). While in London, met Bill Susman. "He invited us to his house and we stayed like we were his family. And Bill and Raymond began to plot it in Mexico, "says Sapir. Then Gleyzer Humberto Ríos called him and said: "Black, do you want to make the camera come to Mexico with your wife?". The couple accepted. "And we are in Mexico," says Sapir. "We started to investigate for months and months and we connect with Paul Leduc, a great filmmaker, and worship, and he accompanied us driving the car in much of the filming of the movie. "

Two years later, he became interested Gleyzer first and only time in fiction: Traitors, landmark of political cinema film which tells the corruption of a union that, as the title indicates, it ends up betraying workers said defend. In relation to what he thought Raymundo Gleyzer, Sapire says Traitors "reflected the struggle of the unions for not dropping his pants for a million dollars or three or five, that the base is the only one who knows how to operate a factory , that you do not have to have a sucking me remove the blood and make you sick. Ortega Peña said that only the people will save the people. Who's going to save? Who cares about the people? The people themselves.

Then Raymond's ideology is that we need to organize, we must fight, that the pattern is not invincible and that forces the workers themselves can run the factory, can be grown to eat, do not rely on a huge force that seems impossible to overcome. Yes we can win. "

"The Film Base met mostly around Traitors, because it was a little before that, but the traitors was what cohered to the group " admits Sapire. Among the group were those who were filming, but also "had to project the films, get the projector, the car, having contact with the town, school, etc., to show movies and talk with people," says Sapir since the idea was to reach people who could not go to the cinema to pay an entrance fee. "So we had to bring the film to the workers. Even we had movies that were not of our production, such as Operation Slaughter, Jorge Kidron, or films Enrique Juárez. In other words, peer of the left because we collaborated well. "

from that period stand two jobs Swift (on the abduction and release of the British consul in Rosario, representative of the fridge) and neither forget nor forgive (this last testimonies of political prisoners before the Slaughter of Trelew occur). These two works were published by Gleyzer with archival material. "At that time, the People's Revolutionary Army left his written communications, for example, the mirror behind the bar La Paz, and then called the newspaper and told them: 'We leave the statement on that side. " Then, Raymundo said, 'Why not make the press filmed?'. He also managed to television material, with the idea of \u200b\u200bsharing things and that we thought as we had to help. Then he told them, 'I need this footage' and is providing, because both Swift as neither forgets nor forgives us not filmed, "says Sapir.

http://youtu.be/iWJAd32Y8ms

full Program of Cultural Cooperation Center Corrientes 1543 on 23 and 24 of this month.

* Thu May 12 2030: Traitors (1973).

* Thu May 19 2030: Mexico, the Frozen Revolution (1971), not forgetting or pardon (1973).

* Thursday, May 26: Ceramiqueros of Tras la Sierra (1966), Our Malvinas Islands (1966) Special note on Cuba (1969), Swift (1971).