Daniel Rosenfeld returns to the tools he already used in The Chimera of Heroes (2003). Better yet, he returns to a particular notion about the use of such tools: without the narrowness that results from urgency but with a fair distance and the necessary time to detect that spot where the incredible takes place. And from then on, instead of approaching the incredible as such, he respects it as the essential path in the everyday life of a man. That man is Antonio Zuleta, who was born in Salta and has a son, a video camera, and an obsession: UFOs. We shouldn’t spoil much of Zuleta’s path in the film, but we should say that each turn is surprising and yet also the most logical one. That is Rosenfeld’s ability in the use of film tools: he tries to place a stethoscope on what lies beyond what we are able to see, in the possible echoes of Zuleta’s search, in the exact shape of that table he grabs on in order to float in an ocean where all shores are too far away. MP
D, G: D. Rosenfeld
F: R. Civita
E: L. Bombicci, A. Santos
DA: A. Mordó
S: G. Scheuer
M: J. Arriagada
P: S. Lalou, C. Uzu, A. Giménez Zapiola, A. Van Gorp, R. Goossens, H. Deckert
PE: J. Leoz, D. Rosenfeld
CP: D. Rosenfeld, Les Films d’Ici, Ma.Ja.De, ArgentinaCine, De Productie, INCAA
I: A. Zuleta, J. Cache, R. Cache
Florencia Nussbaum
T +54 9 11 3944 5803 +54 9 11 5013 3680
E flornuss@hotmail.com - rosenfeldmail@gmail.com
W danielrosenfeld.com FB alcentrodelatierra
He was born in Buenos Aires in 1973. He studied Communication and trained as an editor, playwright, actor, producer and scriptwriter. He directed Saluzzi: Ensayo para bandoneón y tres hermanos (2001), The Chimera of Heroes (2003), Hamelin (Bafici ‘09; co-directed with Tommaso Vecchio) and Cornelia at Her Mirror (2012).
