Not everyone is compenered with the World Championship. Micaela (Sol Wainer), is a teenager who takes care of the family disquerry while his parents are traveling. The unexpected death of a neighbor attracts his attention And, thanks to his friends, he discovers that he has not been the only one in the neighborhood. They say that he looks, finds. The teenager discovers that the murderer is linked to her work through a mixture that she created and sold.
But what is a slasher? What is it? It is a branch of terror that focuses on a murderer, whose identity is unknown, who pursues and kills a group of people, generally young. “My challenge as a genre lover was ‘How can I make a slasher in Argentina and be Argentine?'”Cattaneo counts in dialogue with Scope.
The director not only explored and played with the rules of this universe, but also found a way to nationalize it. “It can only happen in that neighborhood during the World Cup in Italy ’90because the Argentine is a football fan and when Argentina plays they all get into their homes and the streets are deserted, ”adds the director. The temporal choice is not a coincidence, like its location, since Cattaneo was born in Bernal. He always fantasized about shooting in the streets of his childhood. With this story he did.
Journalist: Tour to the cinema with a slasher, what challenges does this subgenre have in particular?
Mariano Cattaneo: The slasher is not a whim in “No one is going to listen to your cry.” We are very accustomed to being a genre of an American culture. It was very important, when writing, to be able to transfer those rules, but that he feels national and is not forcedMay you say “I think this guy went out to kill, it could have happened in the streets of Argentina.” That was the total challenge and it seems to me the richest to count.
Q.: And you did it in your neighborhood, you gave prominence to your origins.
MC: I know the neighborhood and it was very good vibes with us. It is an independent film, which has a small budget, but it is ambitious in itself Because there are not three characters in a house. There are a lot of locations, characters. There are murders in the streets and inside. There was a day that we had to film a night death, which started with a zenith plane, we had a lot of visual from the streets. Then, I started going to the houses to tell them “I’m going to do this such day, can you keep the truck elsewhere?” They shared it in a neighborhood chat and the cars were released in two blocks. In that The neighborhood helped a lot, they were very collaborative.
No one is going to listen to your cry (3)
Black Mandala
Q.: The film has a very marked identity not only where it takes place, but also at the time it takes place. Why did you choose to stop in this temporal line?
MC: First, Bernal was anchored in the ’90s. Those types of chalet, the tiles, the stone, the pasture, like those villages of the slasher, closed everything, and I also loved to relate Bernal to an Argentine slasher. On the other hand, I wanted to tell that in the ’90s the misinformation we had was abysmal. People completely ignore what happens because the World Cup is. The guy to the side could be killing people and you were not going to find out about anything because social networks did not exist. Then I say, within all the mess that there are, the football screen above all things, these two characters are talking about something else. It seemed vital for realism. The death of others is something that happens on the side while it does not touch you. Less if you were in a personal micromundo like Micaela’s that works in her record. He is very involved with that, he doesn’t care about football. Just buy the newspaper when you find out about the news. It seems to me that it was good because that happened to us. The one who lived in the ’90s knows that he did not have all the data, it is not like today.
Q.: Not only do you play with this misinformation in the ’90s, but also give analog symbolism. It is not a whim that is a slasher, much less than elapses at this time. For example, from the cassettes, Micaela connects to the murderer.
MC: Thealog is not a decorationIt is not that I put the cassette in the poster because it is a canchero and I was great, no. Everything that is there is vital for history. The cassette that she compiled is a weapon, which is going to start aiming at it. All the analog that looks there is functional with the story. Everything that appeared was not a “we are going to copy it as” Stranger Things “, that the ’80s are very good.” I could not happen at another time, I had to go there, at that time, during that World Cup, with those elements because they will be fundamental. The conflict in history will be released from here.
Q.: And you tell this story through a teenager who together with his friend intends to follow the steps of this murderer, why did you choose to give rise to a more youthful perspective?
MC: I’m very interested The idea of forced growth. That is, the end of adolescence, which is When an unexpected fact forces you to grow suddenly without still having all the tools developed or matured. Micaela gets alone in this, something that will end up being worse for her and for her surroundings because she is not with all the flowers already flourished. He still lacked mature to have faced things as he should have done it. For me, After this, she will be a completely different woman.
No one is going to listen to your cry (2)
Black Mandala
Q.: “No one is going to listen to your cry” comes to feed the horror genre that slowly consolidates in our cinema, what generates this?
MC: I like to tell stories and I like them to have an identity, No matter what we are telling, it has to be crossed by usI always say that. “When evil lurks” It is a huge parenthesis, it is an atomic bomb, but within that atomic and universal bomb, He kept telling a story that happened here, it is art not trying to imitate. So, I like movies that somehow have something ours, but not frontal, it is not that a mate does or yes, but if the story asks, we do it. Let’s tell what we have to count, but without losing identity. It is good to make other genres and see how they work here, or how we make work here, there is the key.
Q.: What would you like to happen to the public?
MC: One wants the public to want it, or to have a good time. There are many concerns, beyond the movie, how to get there, how to move, especially. I want the movie very much and I hope it will be received that way.
“No one is going to listen to your cry” It reaches the rooms to reaffirm the strength of national terror, but also to welcome the era of The Argentine slashers.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
