“It’s very difficult to keep the line between the past and the present,” says Little Edie Bouvier Beale in Grey Gardens (1975). Dog Lady is not Grey Gardens and perhaps doesn’t owe a thing to it: they have common features, but for that reason both films repel just like equal charges do. Now, a woman who lives surrounded by animals (dogs instead of cats, but the same flies) knows that the hard line to keep is called the present day, and that is both the only thing at hand and always uphill: it’s far from what used to be and even farther from what it will be. The protagonist of Citarella and Llinás’ film survives on the limits of everything, in a wild edge of the outskirts, surrounded by dogs and pretty much nothing else. Scarce shelter, few humans, and little words exist outside the skin. Inside the skin, we don’t know, because there is no way of knowing. One can sense it, but the film doesn’t work on that possibility, and instead shows the huge limits of an absurd kingdom as it interweaves an extreme story of loneliness, in its majestic way, both mysterious and sad.
D: Laura Citarella, Verónica Llinás
F: Soledad Rodríguez
E: Ignacio Masllorens
DA: Flora Caligiuri, Laura Caligiuri
S: Marcos Canosa
M: Juana Molina
P: Verónica Llinás
PE: Laura Citarella, Mariano Llinás
CP: El Pampero Cine
I: Verónica Llinás, Germán de Silva, Juliana Muras, Juana Zalazar
T +54 11 4822 5477 +54 9 11 5909 0818
She was born in La Plata in 1981 and studied at Universidad del Cine. Since 2005 she’s part of the production company El Pampero Cine. She directed Ostende (Bafici ‘11).
She was born in Buenos Aires in 1960. She studied Drama, pantomime, acrobacy, and singing. She was a part of the comedy group Gambas al Ajillo, and participated in many plays, TV shows, and films.