Eleonora Wexler summarize with a single word what you are experiencing at work: “Grateful”. No wonder: these days he co-stars in the miniseries “The Mind of Power” which has just been released; the theater piece “The lie”which will continue all summer in El Picadero, and the new film by Alejandro Agresti, “What we wanted to be”which premieres tomorrow. He will soon be doing another miniseries, another play is planned for May, and “What we wanted to be” he has her in love. We dialogue with her:
Eleonora Wexler: They contacted me, we met at a cafe with Agresti, we immediately agreed, El Bernasconi, Parque Patricios, it was a very close chat. I understood what he wanted, he works a lot with actors and the script was beautiful. I don’t know if it’s round, but the movie moves me. From the first time I read the script, I was already excited. It is a sentimental story, the game of two people who periodically meet to chat pretending that they are someone else, the ones they would have liked to be. It is a relationship where what is said very rarely coincides with what is being felt. A film of looks, of looking into each other’s eyes, is beautiful. I wondered when he was going to kiss her. There he feints, she gets confused for a second, you don’t know if they are going to get out of character. And every so often, minimal glimpses of what is happening in the country over time. All very delicately.
Q.: You don’t sound like Agresti from “Popular Mechanics,” which was your previous film, nine years ago.
EW: He is in another stage of his life. He spent all that time accompanying the growth of his little daughter. From him I had seen “The Wind Gone What,” “The Act in Question,” “Valentín,” of course, “Buenos Aires Vice Versa,” “The Lake House,” with Keanu Reeves and Sandra Bullock, and recently “Secret Wedding”, with Mirta Busnelli, admirable.
Q.: You are missing “Love is a Fat Woman” and “A Less Worse World.” How was the filming?
EW: First were the zoom rehearsals with Luis Rubio. I had never worked with him, but I knew of his theatrical career and had seen him in “The Tangalanga Method”, where he was the accomplice nurse. We immediately joined forces, we still greet each other partner, partner, for me it was a nice encounter with his sensitivity. During filming, Agresti changed almost nothing about the script, at most a few words, a few moments. He operated one of the cameras, doing a lot of close-up, so that you could see the slightest expression, that was very encouraging. He looked at everything, I felt his breathing behind the camera. The result, I don’t know what it is about it but this movie gets into you.
Q: And you have filmed with many very different directors.
E.W.: The first was Eddie Calcagno, a beautiful person, in the comedy “I love you”, a beautiful seedbed. I was 12 years old, Georgina Barbarrosa was my mother, and Valentina Fernández de Rosa’s mother was Cristina Banegas, her mother in real life. I like making movies, but TV schedules make it difficult for me.
P.: Of course, since I was a girl doing unitaries and soap operas! Which, luckily, did not prevent him from participating in rarities such as “Gray Fire” and “White Coffin.”
EW: Now Pablo César is my friend, but how crazy everything was in ‘Fuego gris’! The scenery, the story, the closeness of Margotita and Jorge Polaco, that strange world. I was a mermaid, Leo Sbaraglia a centaur, Spinetta’s music was beautiful. Many years later César called me for something very different, to play Victoria Ocampo in the film “Thinking About Him,” about the writer’s friendship with the poet Rabindranath Tagore. It was amazing to meet Victor Banerjee, a huge actor, who came from India to play the poet. There we met again with César, who is a cultured, prepared, charming guy. I went to his house in Córdoba, now I played a small character in his new movie, ”After the end”, still unreleased. There I am a friend of the painter Luz Fernández de Castillo.
Q: And the horror one?
EW: Oh, yes, I have a lot of fun, “Ataúd blanco” is a bloody road movie, and its director Daniel de la Vega is a cute, very talented crazy man. I also did “Amateur”, a semi-particular thriller, and “La casa de Tourneur”, which I think was left unfinished.
Q.: While we’re at it, what happened to the life of Marcelo Brigante, the author of “Telephone Lines.”
E.W.: “Telephone lines”, a wonderful short film! It was a long time ago, I was 18, but I still watch it and it still moves me. To think that Brigante never filmed again, I don’t know why, nor do we know what became of his life.
Q.: On the other hand, you have remained strong since you were 8 years old, when you debuted in the musical comedy “Annie” as part of a huge cast.
E.W.: Well, around 15 I had a crisis, I wasn’t sure about pursuing an acting career. But right at that moment they asked me to do a replacement in the comedy “High Society” at the Metropolitan. Not Metro 1 or 2 as it is now, then that didn’t exist, it was the huge, huge room. I went out to the bull, as they say, I stepped on the stage, I felt the audience, and all my doubts disappeared. This was my life.
Source: Ambito
