Acontecimiento de un otro

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Note of intent

With this film, I’m interested in two things: how to narrate cinematographically the difference that exists within two very different social classes, and how one can never really see the other. The element of the decadence and selfishness of certain upper classes plays a pivotal role in this film, because the dissappearence of a dear friend ends up being consumed and played as an intellectual game. It is about a game of opposites that fades into grey.

Synopsis

As when they were growing up, five friends from Buenos Aires go to the state that Martín’s parents own. The group’s dynamic has changed since they (nearly) became adults: Juana pays little attention to her surroundings and is most interested in her life back in the city, Tomás is not amused by anything other than doing nothing, Martín is only keen on his family’s business, Marina believes herself to be in love with Mariano, the caretakers’ son, while Mariano himself doesn’t really show or say anything. Suddenly, after one day of solitude back home, Mariano disappears. He has done this before, and has always been found, they are told. This time, however, it’s different: no news have been heard from him in weeks. The rest of the group search for him. They begin to invent conspiracies regarding each other and start turning against one another.

Visual concept

This film is divided into chapters: each built around an specific event, each with a different point of view. It also deals with two very opposed settings: the country side and the city of Buenos Aires. In the town, some of them are the owners, and the others, mere workers. But in the city, they feel equal. I aim to show, through a very sober yet choreographic mise-en-scène, the latent differences between them (the city and the countryside, the owners and the workers), always present.