Gobierno de la Ciudad de Buenos Aires Festivales de Buenos Aires

Bert: The Last Virgin

april 22

Abasto Shopping

Room: HOYTS9


Film information

Director ← [ + info ]

Tomas Alfredson

Swedish filmmaker Alfredson is a mystery-director. Yes, he’s known in Argentina for the release of his two last films: Let the Right One In and Tinker Tailor Soldier Spy. Or, as the local posters saiDirección / Director: Criatura de la nochEdición / Editing: Vampiro and El topo, respectively. Coincidence or not, these Argentine titles refer to beings that survive away from the light. One escapes from it because of the time he can live, and the other one lives hidden underground. Vampires who betray immortality. Turned-over spies who betray their country and colleagues. In both films, Alfredson narrates, but his films are above all descriptive. He is interested in what is like to be a female vampire, or what was like to be a spy in London during the Cold War. Look at these lives, they have those characteristics. Yeah, sure, if you’re a female teen vampire there is a good chance things will happen to you that are worth narrating. And also if you’re a spy during the Cold War. But Alfredson is not fascinated by events: it’s the blood on the snow; it’s taking shelter in the power of immortality at an age when everything is extreme; it’s the constant cigarette, the brown suits, the ephemeral crossing of feelings and ideas that undergo passionately beneath cerebral red-tape. Watching Let the Right One In and Tinker Tailor Soldier Spy means entering those worlds. As a matter of fact, the novel in which Let the Right One In was based was called Déjame entrar (“Let me in”), just like the film in Spain.

Before diving and entering those worlds, Alfredson directed TV shows and three other films. Two of those films will be screened in this BaficIntérpretes / Cast: one is his first film, Bert, about a fifteen year-old teen who wants to lose his virginity not just because of what we described above (teenager, 15 years-old) but also because he’s convinced he will die soon. This deformed comedy is based on a popular TV show Alfredson himself directed. The other film, Four Shades of Brown, is actually four different ones: four stories about dysfunctional relationships shaped as comedies not that are not just deformed and pop, but also led towards an absurd world that lacks no pain – it’s a “brown comedy”, named like that by the group he was part of (read the preview of the film in the following pages). That’s Alfredson before he became an international filmmaker and used to observe Swedish society using an estranged humor that was not at all festive. His view already featured darkness and mysteries: the color brown –like many of the suits in Tinker Tailor…– is close to being misread as black. In his cinema, even if there is humor, the pain and angst of not being anymore (or worsEdición / Editing: being) is still there. Can that painful notion of being include a certain satisfaction, hope, or accomplishments? The question may or may not be answered by Alfredson’s unknown-cinema. Search, for example, in Gary Oldman’s gesture at the end of Tinker Tailor Soldier Spy.

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