Arturo Ripstein , presented today in Venice, out of competition, “The street of bitterness” a strong example of its dry and poetic cinema, a style that it is better to the absence of color, something that has tried to maintain in all his films because he believes that “life is in black and white” adapts
“. 65 years ago I began to see how movies are filmed and then it was practically all in black and white, so I started to find the face in the Mexican film in black and white, “he said at a press conference today the veteran Mexican filmmaker.
” I could do all my films in black and white because producers would not let me, “said the filmmaker, one of the most prestigious in Latin America and a career behind more than 50 years, with titles like” The place no limits “(1978) or “Deep Crimson” (1996).
Director “more vital, tenacious and original generation that made its debut in the mid-sixties,” the precursor of authors like William Carlos Reygadas or Toro and Nicolas Pereda and the builder of a “restless and distressed universe populated by characters pathetically to the edge where they are destined to fall”
These are the words of the director of the Venice Film Festival, Alberto Barbera, to justify the award today Ripstein receive for his fifty-year career.
A film in which the absence of color sought intended to provoke the viewer and make him involved in the process of finalizing the film, he said Director, for whom, as Picasso said, “weakens the color.”
A black and white sometimes neorealist and other expressionist, allowing fascination, and is complemented perfectly with the world strange and marginal beings and his wife Ripstein and screenwriter Paz Alicia Garcíadiego removed from the Spanish picaresque.
very clear example of his style is “The street of bitterness,” a Spanish-Mexican co-production focused on life of two elderly prostitutes, tired of not working, and twin dwarfs engaged in fighting in a sordid environment in which all the characters looking to make a profit.
A film starring Patricia Reyes Spíndola -in its twelfth collaboration with Ripstein and Garciadiego- and Nora Velazquez.
“Ripstein is the absolute cornerstone of my career. My film career would not be what it is without Arturo Paz and Alicia. He made 62 films but people know me for these twelve “Spíndola said.
Tools that for Velázquez, making this film is the” miracle “of his career.
A film closing the Latin American participation in an edition of Venice with large Hispanic presence-eight feature films and three short films in different sections -.
A film that “finally begins to hear and see” in the words of Ripstein, but said that “the notion of Latin America is strictly political” and in films, Latin American countries are “very different and well nearby,” which, however, is beginning to change.
“The streets of bitterness,” Ripstein wheel with his usual story bordering line to pass it without the grotesque, leaving off camera scenes that could fall into the illness solvency.
A realistic world but away from the magical realism that works so well in literature and in movies so bad, as stated by the director.
“Magic realism in literature is in the rhetoric of hyperbole, that is perfect in words but not images “and therefore the realism of Ripstein is that of the lower classes, social differences, the mix of violence, beauty, tenderness, compassion and uprooting.
This is the film that has repeated in his long career, a career that has made him happy, he says with a laugh.
“is the only term that can not be behind the camera. One is behind the camera for the unfortunate, by unhappy, anxious for revenge … I film for spite. If so poor person makes me happy, “said the director of 71 years.
A filmmaker in love with his profession, who lives to the cinema.” Everything for me is cinema. “
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