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Tomas Alfredsonto top

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 said: Criatura de la noche: 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.
Read the full story in the Festival catalogue.
Javier Porta Fouz


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