All or nothing

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Note of intent

I am interested in setting up the scene of an exchange, as unusual as it is necessary. Marcos and I belong to different social classes, he is a man, I am a woman, and fundamentally he is in prison and I am not. Somehow we delineate the profile of the society we belong to, that assigns to some the role of subjects and to others the role of film objects. This film was also born from the desire to disrupt the usual distribution of roles that makes any aesthetic approach a political issue.

Synopsis

Marcos is in jail in a prison in Buenos Aires, Argentina. In the middle of the pandemic, his most precious possession is a mobile phone that his girlfriend Sol smuggled to him into jail. With it, Marcos records and sends me videos. Together we make this film that is his portrait, but also mine. Through this clandestine exchange, All or Nothing narrates Marcos’ life in prison and his love story with Sol. A relationship that for Marcos represents the hope of a better life, for which he bets on everything or nothing. So when that love comes to an end, Marcos becomes a man who has lost everything. Even the promise of a future.

Visual concept

A wide variety of voices and origins coexist in the film: VHS family recordings, security camera records, fragments of television newscasts and, primarily, filming made with the protagonist’s cell phone. We propose this  diversity of formats to configure a story without firm enunciative hierarchies. A story that is assembled like a puzzle whose pieces never quite fit together.