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<\/p>\n\uf0d8 Th\u00e9o Court comes back to the Las Palmas de Gran Canaria International Film Festival with a drama about the Selk\u2019nam genocide in the Tierra del Fuego: a film produced by Jos\u00e9 Alay\u00f3n that earned him the Best Director Award in the 2019 Venice Horizons section<\/p>\n
\uf0d8 The Spanish-Chilean filmmaker depicts with skill and sensitivity a brutal story starring Alfredo Castro that puts spectators in a position to judge themselves<\/p>\n
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Las Palmas de Gran Canaria, Saturday 10 April, 2021.- White on White<\/em><\/strong> (2019) addresses with rawness the terrible story of the Selk\u2019nam genocide at the Tierra del Fuego archipelago at the end of the 19th century: a cruelty in which the rancher companies that occupied the land paid a pound for each Selk\u2019nam dead. Th\u00e9o Court<\/strong>\u2019s feature film approaches this tragic moment in the history of the region through the eyes of a photographer (played by Alfredo Castro) who is hired to document a landowner\u2019s wedding. The film, which earned the filmmaker the Best Director Award in the 2019 Venice Horizons section, explains itself through the editing of three long shots (as the period demanded) the photographer ends up taking: something that becomes a vital resource for transferring the plot\u2019s dark weight to the audience. The last of these photographs is the one that shocks spectators the most.<\/p>\n The Spanish-Chilean filmmaker explains that his feature, in fact, started \u201cin 2012, when I found some pictures of those killings. I began to research and write. I was quite interested in that world and that landscape. And the idea of making a sort of polar western attracted me\u201d. Then, Court was in the Canary Islands working on a script with Samuel Delgado. \u201cThe proposal was complex because of its magnitude: filming in winter in Tierra del Fuego, a very large crew, a period film\u2026\u201d. Producer Jos\u00e9 Alay\u00f3n, who was also in charge of the film\u2019s cinematography, collaborated with him. \u201cWe had a very clear plan for Jos\u00e9\u201d, adds the director, \u201cto capture that world full of loneliness, in a beautiful but tragic scenery\u201d. What they had planned came to fruition as a shooting that finished in Tenerife, with Mount Teide as a protagonist.<\/p>\n Court wanted to \u201caddress things that still prevail nowadays. Even with the pictures themselves: we are surrounded by pictures that don\u2019t belong to us. I was also worried about the distortion of historical memory, how it has been manipulated. And then there is that invisible power controlling us, but with our involvement, too. We are guilty. The film puts spectators in a position to judge themselves\u201d.<\/p>\n The director had Alfredo Castro as a fundamental element to tell his story: \u201cWe had a lot of conversations prior to the filming. He has a very special cinematographic aura and doesn\u2019t need to say much in order to express things. In the film, when he builds his pictures as a photographer, he appears to be a sort of voyeur of that reality. The character\u2019s journey makes him blend a little into that society\u201d. And in the end, the photographer \u201cbrings esthetics to a heinous act\u201d.<\/p>\n Long shots as a dramatic resource<\/strong><\/p>\n Canarian Jos\u00e9 Alay\u00f3n<\/strong> saw himself immersed in this job (that of the person who photographs). In addition to producing the film, he was in charge of cinematography. \u201cYes, taking pictures like before, with long shots, in the end is a way of generating tension in the scene\u201d, points out Alay\u00f3n, who adds that during the shooting another aspect they specially paid attention to was lighting. \u201cThe film is shot mostly with natural light. We even ended up using fire to light the fire, inside rooms with candles or oil lamps\u201d.<\/p>\n The method, in the producer\u2019s opinion, \u201chighlights Th\u00e9o\u2019s work, who has a more poetic film language, with artistic sensitivity. It was interesting to see him transfer that into the narration of the story\u201d. Alay\u00f3n also commends the whole cast: Alfredo Castro, Ignacio Ceruti, Lola Rubio, David Pantale\u00f3n, Esther Vega, Lars Rudolph\u2026 \u201cSilvia Navarro\u2019s casting work was impressive\u201d. Anything to complete the material necessary to edit the film in four weeks of intense shooting, often with temperatures far below zero.<\/p>\n Good start and return to the Festival<\/strong><\/p>\n White on White<\/strong><\/em> has had a significant journey. \u201cWe started quite well, honestly, with three awards at Venice<\/strong>: awards help films to be watched, which is in fact the important thing\u201d, says Th\u00e9o Court<\/strong>, who won the Best Director Award in the 2019 Venice Orizzonti section. With his feature\u2019s run within the circuit \u201cI felt there was an affectionate reception on behalf of the audience, although a dry one too, because it is a tough topic. And it is not an easy film. It will be released in Chile in May, so we\u2019ll see how the public reacts to it\u2026\u201d.<\/p>\n Court<\/strong> returns to the Las Palmas de Gran Canaria International Film Festival after having already appeared with his debut film, Ocaso (2010). \u201cBack then I found its programming proposal very interesting\u201d, he points out. \u201cYes, the Festival has that feeling about it\u201d.<\/p>\n White on White<\/em><\/strong> is screening at noon on Sunday 11th at Cinesa El Muelle\u2019s Screen 9. The event is subject to all security measures fighting the spreading of COVID-19, so masks are compulsory and social distances need to be observed at all times during screenings.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" \uf0d8 Th\u00e9o Court comes back to the Las Palmas de Gran Canaria International Film Festival with a drama about the Selk\u2019nam genocide in the Tierra del Fuego: a film produced by Jos\u00e9 Alay\u00f3n that earned him the Best Director Award in the 2019 Venice Horizons section \uf0d8 The Spanish-Chilean filmmaker depicts with skill and sensitivity a brutal story starring Alfredo …<\/p>\n","protected":false},"author":25,"featured_media":17063,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[401],"tags":[],"class_list":["post-17070","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts\/17070","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/comments?post=17070"}],"version-history":[{"count":0,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts\/17070\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media\/17063"}],"wp:attachment":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media?parent=17070"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/categories?post=17070"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/tags?post=17070"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/www.lpafilmfestival.com\/wp-content\/uploads\/2021\/04\/DIRECTOR_Th\u00aeo-Court_BLANCO-EN-BLANCO_web.jpg\")
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