Ana Amado é Professora de Análise Filmica e Teoria na ...

eginning of the 80s reconstruct the youth of their parents through photos, letters, tapes,used clothing, stories and erased memories. Who were my parents when I was born?What was Argentina like before I learned to talk? What versions exist about whathappened when I didn’t yet exist or was so little that I don’t remember? Each actor doesa remake of scenes from the past to understand the future. As doubles for the risk oftheir parents, the children wear their clothing and try to present the family history....”On the border between reality and fiction, in the encounter between two generations, the“literal” interpretation of scenes from the past perhaps points to a way to transform thefuture. But this “literalness” maintains a distance from verisimilitude through a way oftalking without emphasis, lacking all emotional overtones, in which the words appear toflow with less fluidity than manipulating images (they use video on direct takes, homemovies, photography) , playing instruments (they play the electric guitar, hum melodies,beat drums) or dancing or unbridled corporal play.As is the case of recent Argentine film by the children of the victims, Mi vida despuéscondenses the questions that come up in one work after another, in diverse forms ofexpression, about that time, about doubts and allegiances, about the abyss between thegenerations, about those personal histories that collectively make up history.This new type of Argentine film and theatre restores the collective dimension out of thefragments of individual, loving discourse that finally takes its place as source anddocument for that dramatic span of history.Ana Amado is an Argentine essayist and film critic. She teaches Film Analysis andTheory at the Facultad de Filosofía y Letras of the Universidad de Buenos Aires.Formerly a visiting professor at Princeton and Duke Universities, she is author of thebook La imagen justa. Cine argentino y política (Ed. Colihue) , co-author of the Lazosde Familia. Herencias, cuerpos, ficciones (Editorial Paidos)and Espacios de Igualdad(Ed. Fempress) , as well as the author of numerous texts in books and magazines inArgentina and abroad.______________________________________________________________________Em “A noção de representação da crise no nuevo cine argentino (1999-2004)”, Brenode Souza Juz, da UNICAMP, relembra que em artigo recente, apresentado na mostra decinema argentino realizada pelo CINUSP, em agosto de 2002, Ana Amado, desenvolvea idéia de que os filmes do nuevo cine argentino apresentam-se esteticamente como“fábulas do mal-estar”. Apesar de mencionar vários filmes que fazem parte da mostra, ocentro do argumento da autora está na análise do filme de Martel. Apesar de aparecer demodo sutil, a idéia do cinema argentino contemporâneo como produto da crise sócioeconômicavivida pelo país permeia o artigo, como se pode perceber no seguinte trecho:“Cinemas da ficção subjetiva, absolvida da obrigação documentária sobre omundo, mas com uma presença ao mesmo tempo avassaladora do documentárioem sua variante testemunhal, que ensaia códigos diretos para a representação dahistória, a memória e a realidade social. (...) a geração nascente de cineastas estáimpulsionada a inventar novos dispositivos para seus relatos, capazes de captarnada ou quase nada. Consequência da crise que absorve tudo: corpos, figuras,