Today it premieres “Transmitzvah”the new comedy Daniel Burmanwhere Rubencito, the youngest son of a family from Eleven, decides to transition to Mumy Singer just on the eve of his Bar Mitzvah. She does well, years later she triumphs in Europe as The Kosher Diva who sings pop in Yiddish, but something is missing: the Bar Mitzvah ceremony. He is no longer a boy, but he also cannot do a Bat Mitzvah like women. So?
interpreters, Milo Burgess-Webbwhich comes from “Matilda, the musical”the Spanish Penelope Guerreroseen here in the series “Sky Rojo”, Alejandro Awada and Alejandra Flechner (the parents), Franco Quercia and Juan Minujin (the brother as the years go by), Gustavo Bassaniprotagonist of “Iosi, the repentant spy”, Carlos Belloso and Carla Quevedoamong others.
There are songs, pleasantly unreal photography of Rodrigo Pulpeiroa merino sheep, a Lacanian boyfriend (and a Lacan well applied), the recounting of some numbers from the cabal, several unique characters, each with their own way of seeing things, a motorcycle with a sidecar, all pink, on the outskirts of Toledo, and, as if it had never left, the mystic Abraham ben Samuel Abulafia that comes from the Middle Ages to fix everything with a smile. We dialogue with Daniel Burman:
Journalist: “Transmitzvah” was shown out of competition on the beach in Cannes. Is there a big festival that you haven’t been invited to? Because throughout his career he was, and won the main awards, in Berlin, Chicago, Sundance, Havana, Tribeca, Venice. Furthermore, at only 27 years old he was a member of the jury at Mar del Plata 2001, along with Cipe Lincovsky, Julie Delpy, José Luis Borau, Humberto Solás, and the African director Fanta Regina Nacro.
Daniel Burman: So many years ago! I remember Julie Delpy, and not much else.
Q.: Perhaps you better remember the Robert Bresson award that the Vatican gave you “for the human and spiritual values in your work.”
DB: A real surprise, suddenly a fax arrived at my office saying that they were going to give it to me in Venice and I didn’t even know about the existence of that award. There I learned that they had already given it to Wim Wenders, Alexander Sokurov and Manoel de Oliveira. Faced with those names, I felt it was an excessive honor.
Q.: But you had already done, among others, “Waiting for the Messiah”, “The Broken Embrace”, “Family Law”, works that earned you that tribute.
DB: The topics I have discussed have a lot to do with the spiritual. Then they had another attention: Monsignor Claudio María Celli, president of the Pontifical Council, invited me to visit the Vatican Film Library, a kind of enormous nave with thousands of records of ecclesiastical activities preserved almost since the birth of cinema! Not religious, but ecclesiastical.
Q.: Speaking of religion, are you a practitioner?
DB: No. I don’t go to synagogue, I don’t wear a kippah, nothing like that. As someone says in my new film, God is not in the details, He does not choose how I should dress. I believe that everyone can live their identity in their own way.
Q.: Identity, a theme developed several times in your works, linked to the issues of tradition, values, family (how that delight of “Two Brothers” stands out, with Graciela Borges and Carlos Gasalla!) and the Once neighborhood.
DB: I don’t have many topics, one simply changes and looks at them in a different way. The fantastic thing, always, is that within that box of flesh that contains us, and that is wearing away, there is something ungraspable, the truest thing we have. That’s what I’m interested in finding in my stories.
Q: The search is, generally, through comedies with an unexpected background.
DB: It’s interesting when something is proposed unexpectedly. This shift allows things to be seen differently.
Q.: In “Transmitzvah”, for example, a character is presented that would be dramatic, or Italian-style grotesque, or a denunciation of sexual intolerance, but something different happens: the kosher diva does not fight to be accepted, on the contrary, She is a complete winner. His problem is that he now wants to accept, or rather recover, something from his previous life.
DB: “Fashion” (I say it in quotes) has reduced the identity conflict to gender identity. I do not deny its importance, but that is another facet of the person. There are other facets, of equal or greater importance, and that is what we develop in this comedy.
P.: Which also has some memorable phrases, such as “For mom, home and commerce are the same, only the prices change,” or “I don’t need to be tolerated. I am gluten and lactose free.” Or that, which leaves you thinking, “The path is forward, but the journey is backward, because it ends where it begins.”
DB: Ariel Gurevich, a young playwright who worked with Santiago Loza and today lives in Paris, helped me a lot with the dialogues.
Q: Is this, or “El rey del Once”, your most mature film? Or “The Mystery of Happiness”, with Guillermo Francella?
DB: I prefer to think that I haven’t matured yet. I also don’t think I made THE movie. You never know that. Some hit it more than others. Anyway, I do them all with the same love, the same as the series. The relationship with the platforms does not change my creative process, nor does it change me much. But there is something: my films have a fable tone, they are how I would like the world to be.
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.
