SAN SEBASTIÁN.- "Siento que tengo cuerda para rato". Así lo ha comentado esta mañana Daniel Burman, el director argentino que ha presentado en el Palacio del Kursaal su filme 'El nido vacío' en la penúltima jornada de la 56ª edición del Zinemaldia donostiarra, acompañado por los productores y los actores principales de esta coproducción hispano-argentina, Cecilia Roth, Arturo Goetz e Inés Efron.
'El nido vacío' narra la situación de crisis por la que pasa un matrimonio argentino tras la marcha de su hija Julia a Israel, visto desde la mirada de Leonardo (Arturo Goetz), un escritor introvertido que no consigue afrontar los cambios por los que atraviesa su vida, mientras que ve cómo su mujer Martha es capaz de superarlo e incluso disfrutar y distraerse retomando sus estudios en la universidad.
La inclusión de dos cuadros musicales en el filme por parte de Burman, a pesar de haber reconocido que odia este género y que le da "vergüenza ajena", supone un contrapunto en el desarrollo de la película y responde según el director, a "la necesidad de encarar el drama desde una perspectiva distinta". De esta manera estos fragmentos se convierten en estrategias para manejar mejor el relato y así, "hacer más liviano y ligero lo doloroso".
Por otro lado, el realizador argentino ha comentado que el paso de realidad y ensoñación en el personaje de Leonardo, responde a una puesta en escena donde el personaje vive su espacialidad con una permanente incomodidad, y ayuda a enfatizar y reflejar la crisis existencial en la que está sumido el personaje. Es cuando Leonardo acepta la situación real en la que está sumido, cuando es capaz de ser realmente feliz.
El cineasta ha comentado que esta película surgió de su particular interés por el vacío que dejan los hijos en la casa de sus padres cuando parten, así como del modo en que las parejas interactúan con estos espacios. "En esta relación entre Martha y Leonardo se traslucen los diferentes caminos que puede tomar una pareja una vez que quedan solos nuevamente", ha afirmado Burman.
Por su parte, Cecilia Roth, una de las actrices argentinas de cine más prestigiosas actualmente y con más trayectoria, se ha mostrado muy halagada de volver al Festival de Cine, al que acudió por primera vez en 1977 y del que guarda "muy buenos recuerdos y anécdotas". De hecho, la actriz ha recordado su paso por San Sebastián con la película 'Laberinto de Pasiones', con la que compartió cartel con Antonio Banderas, el Premio Donostia 2008.
La primera actriz no española en ganar un Goya, ha manifestado estar muy satisfecha de haber trabajado en este proyecto con Daniel Burman, del que ha dicho que "sabe sacar lo mejor de cada uno" además de haber revelado que es "muy divertido".
Daniel Burman
Daniel Burman (born 29 August 1973, Buenos Aires, Argentina) is a film director, screenplay writer, and producer.According to film critic Joel Poblete, who writes for Mabuse, a cinema magazine, Daniel Burman is one of the members of the so-called "New Argentina Cinema" which began c. 1998. Film critic Anthony Kaufman, writing for indieWIRE, an online community of independent filmmakers and aficionados, said Burman's A Chrysanthemum Burst in Cincoesquinas (1998) has been cited as the beginning of the "New Argentine Cinema" wave.
Burman is of Polish-Jewish descent, and he was born and raised in Buenos Aires.
He holds both Argentine and Polish citizenship, like his films' character, Ariel. He studied law before changing to audiovisual media production.
In 1995, he launched his own production company together with Diego Dubcovsky, BD Cine (Burman and Dubcovsky Cine).
Burman is a founding member of the Academy of Argentine Cinema.[4]
His loose trilogy of films, Esperando al Mesías (2000), El Abrazo Partido (2004), and Derecho de Familia (2006), were all written and directed by Burman and star Uruguayan actor Daniel Hendler. They are largely autobiographical, dealing with the life of a young neurotic Jew in contemporary Buenos Aires.
He frequently collaborates with other Argentine Jews, notably writer and klezmer musician Marcelo Birmajer, and César Lerner.
His comedic touches often bring comparison to Woody Allen, a comparison Burman is quick to reject. He said, "It's not a measurable comparison. But I'm very happy with it. I admire him more than anyone else in the world."[5]
Burman's films have been featured in many film festivals around the world. El abrazo partido (2003) took the Grand Jury Prize at the Berlin International Film Festival, as well as best actor for Hendler.
Burman was co-producer of the successful 2004 film, The Motorcycle Diaries, as well as Garage Olimpo (1999).
It is arguable that the loose trilogy of films - Esperando al Mesías (2000), El Abrazo Partido (2003), and Derecho de Familia (2006) - all happen in the same "universe". The three share common traits - they are all written and directed by Burman and all star Daniel Hendler in the title role as a young Jew. Additionally, several actors and actresses appear twice in the films. Because Hendler's characters all share similar traits (they are all named Ariel: Ariel Goldstein, Ariel Makaroff and Ariel Perelman respectively) and because some characters from one film seem to appear in another, the trilogy is usually considered as happening in the same universe. Several continuity problems seem to state, however, that the three Ariels are different persons: in the first movie, Ariel's father is a restaurant owner, and his mother dies; in the second film, his father has been long gone, and his mother tends to a small shop; in the third movie, his father dies in the film, and his mother has been long dead. The Ariels cannot be the same. However, a character named Estela from the first film appears in the second, and is both times played by Melina Petriella. This at least connects the first two movies to the same universe. Additionally, Juan José Flores Quispe appears in the second and third movie as "Ramón". Although his character, unlike Estela, seems to vary from film to film, this seems to suggest that the second and third film also share the same universe, and thus, the trilogy itself is set in the same storyline, with the "Ariel persona" showing either different aspects of the same character or simply being a mere coincidence.
Lost Embrace (Spanish: El abrazo partido) (2004) is an Argentine, French, Italian, and Spanish comedy drama film, directed by Daniel Burman and written by Burman and Marcelo Birmajer. The picture features Daniel Hendler, Adriana Aizemberg, Jorge D'Elía, among others.[1]
The drama was Argentina's official choice for the 2004 Oscar Awards, Foreign Language film category.[2]
The comedy-drama tells of Ariel Makaroff, the grandson of Holocaust-era Polish refugees, who is currently on a complex search for his personal and cultural identity.
Esperando El Mesias
The film takes place in a Jewish community of Buenos Aires.
The picture tells of Ariel (Daniel Hendler), a restaurant waiter and a young man who is torn between his devotion to traditional family ties and the desire for something different, and, of Santamaria (Enrique Piñeyro) an older bank employee who suddenly finds his life in complete turmoil.
Santamaria is unexpectedly fired from his bank job due to the world's stock market shocks. His wife takes this event as an opportunity to get rid of him and put him out on the street.
Forced to make a small living returning stolen wallets, Santamaria finds some hope in a bathroom attendant (Stefania Sandrelli) who is waiting for her husband to be released from prison.
Ariel is very much against the restraints of a future that will see him take over his elderly father's (Héctor Alterio) restaurant and marry a nice Argentine Jewish girl (Melina Petriella).
At the same time, Ariel is also attracted to a sexy co-worker, Laura (Chiara Caselli), who tells him she's a lesbian.
Derecho De Familia
The film tells the story of Ariel Perelman (Daniel Hendler). While he has an easy going lifestyle, he's trying to find his way in life in Buenos Aires, Argentina. He works at a university as a law professor. The film begins with a long narration of the way things stand in his life. He describes his father, Bernardo Perelman (Arturo Goetz), in quite detail. Perelman, as he's known, is a popular public defender who meets his clients where they work or in restaurants so he can determine what they are "all about." Most of his clients are generally poor. He's very close to his secretary (Adriana Aizemberg) since his wife passed away fifteen years ago. Work fills Perelman's days, and Ariel is astonished by his energy.
After lusting after Sandra (Julieta Díaz), an attractive woman who takes his class, Ariel decides to chase her and takes the Pilates class she teaches. Not much happens until Sandra is sued for teaching Pilates without the approval of the company who hold the rights to teach Pilates in Argentina. Ariel (known as Perelman to Sandra) reaches out to his father for help and succeeds in winning the law suit.
In the process Sandra falls in love with the younger Perelman and they marry. She begins to decorate their home for a few years and they have a child they name Gaston (Eloy Burman), who turns out a quite charming young boy. She also starts to teach Pilates in their apartment.
Ariel's office building is shut down for a month because it had collapsed, and he is given some time off. However, he doesn't share this news with his wife. During this time his father starts spending some quality time with Ariel, which makes him think something must be wrong. Ariel is asked by the Swiss kindergarten school were Gaston attends to participate in a play and swim classes with the other fathers. Ariel first rebels but gives in.
The film ends with his father's death and burial and a long introspective look at Ariel Perelman's life in his 30's something.
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