Ricardo Bär

Inés Bär

Samuel Bär

Fabio Fibke

Diego Littmann

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Süresi

Türler

Orijinal Adı

Uyarılar

Gerardo Naumann

Nele Wohlatz

Ediz Hun

Sezer Güvenirgil

Hayati Hamzaoglu

Aliye Rona

Enver Dönmez

Suphi Tekniker

Meltem Mete

Süheyl Egriboz

Hüseyin Zan

Hüseyin Güler

Ahmet'in kardeşi Nazlı, tecavüze uğradıktan sonra hayatını sonlandırır. Onun intikamını almak isteyen Ahmet, yaşadıklarını tecavüzcüye yaşatmak için yollara düşer fakat hiç beklenmedik bir şekilde âşık olur.


Kanlı Aşk

Antonio Gil was conceived as an aesthetic and ethical project. Our project uses the artifice of cinema -- the eye of the camera -- to attempt to capture an even more sophisticated and complex form of artifice: the myth. Far from being a heroic story or a rational explanation, this film is a polyphonic composition where the proper noun -- Antonio Gil -- is the signifier around which multiple and heterogenous stories come together. A mosaic of campesino voices, like a choir with its own peculiar cadence, narrates the myth's construction over the course of the 20th century, and accompanies us on a visual journey through its celebration. At the beginning of the film, we are situated in the year 2010, but as the film progresses, the images move us backwards in time: 2008, 2006, 2004, 2000. The iterations of its celebration can be seen as geological layers, which mix and build upon each other to consolidate the myth in the popular imagination. This film is also the narration of a ritual -- the annual festival in homage to the Gauchito Gil in the countryside of Corrientes, Argentina -- through the ritualization of a cinematic method: the traveling shot. The camera angle never changes; the locations remain the same -- and yet, everything appears to move and shift. Subtly, we witness the unintentional transformation of the colors, the setting, the faces, the characters, the fixtures. Generally, the further we move away in time, the closer we are to believing we've arrived at the truth, but in this film, this illusion quickly vanishes: like any myth, the Gauchito Gil is ever elusive. Using this narrative strategy, the film seeks to do justice to the singularity of the Gauchito Gil myth -- a narrative rooted in the imagination of a rural region of Guaraní ancestry, and long neglected within official Argentine culture. This story, which demands to be told, provides an origin for the myth, but without a doubt, goes beyond even the Gauchito Gil himself.

Antonio Gil