#argentine writer

[creatives-argentines]

MASTERPOST OF ARGENTINEAN CREATIVES: COMMISSIONS OPEN

We called for argentinean artists, writers, animators, graphic designers and musicians to send us their work to boost them in the international market, and here we all are!

Because of our country's political decline in the hands of a fascist government we are in need of help.

We are in need of visibility and financial aid, so everyone that you see here is open for commissions, and the masterpieces you see are what you can look forward to.

We will update this post every month according to the entries we might get in the future, until the end of June. On the 15th of July there will be another masterpost, hopefully with more people!

Also, we will be reblogging their pieces so stick around and see what they'll do in the future, and please consider reblogging anything you like from us or from them directly, it goes a long way.

Lastly, we're trying to keep it bilingual, so if you see an image that has writing in just one language (or both!), check the ALT TEXT, it will have both spanish and english versions.

________________________

Convocamos a artistas, escritores, animadores, diseñadores gráficos y músiques argentines a que nos envíen sus trabajos para potenciarlos en el mercado internacional, ¡y aquí estamos todos!

Debido al declive político de nuestro país en manos de un gobierno fascista necesitamos ayuda.

Necesitamos visibilidad y ayuda financiera, así que todes los que ven aquí estamos abiertes a encargos, y las obras maestras que ven son lo que pueden esperar de nosotres.

Actualizaremos esta publicación todos los meses de acuerdo con la cantidad de fichas que podamos recibir en el futuro, hasta finales de junio. El 15 de julio habrá otro masterpost, ¡esperamos que con más gente!

Además, rebloguearemos sus obras así que quedate por acá para ver qué hacen en el futuro, y por favor considerá rebloguear cualquier cosa que te guste de nosotres o de elles directamente.

Por último, estamos tratando de mantenerlo bilingüe, así que si ves una imagen que tiene la escritura en un solo idioma (¡o ambas!), fijate en el ALT TEXT, tendrá las versiones en español e inglés.

Without further ado, enjoy~

Escritores / Writers:

@fatheriimaginedyoutaller (they/he - elle/él)

Escritor/e de 21 años. Especializado en relatos cortos y cuentos. Con pasión por el género realista y la fantasía. Inspirado en el estilo de George R.R Martin, Suzanne Collins, Liliana Heker y Kafka. Ofrezco servicios como ghostwriter y como escritor/e propiamente dicho. También puedo desempeñarme como escritor de blog y columnista de opinión en revistas online. Manejo bien el idioma inglés, con nivel bilingüe. Siendo capaz de traducir textos Trabajo en remoto. Mis tarifas oscilan entre $10 y $17 (EN PESOS) por palabra, dependiendo de la complejidad y longitud del texto comisionado. Mi obra más reciente "Pueblo Crepúsculo" fue publicada en la antología Purapalabra 2023. ________________________ 21 year old writer. Specialized in short stories and tales. With a passion for the realism and fantasy genres. Inspired by the style of George R.R Martin, Suzanne Collins, Liliana Heker and Kafka. I offer services as a ghostwriter and as a writer myself. I can also work as a blog writer and opinion columnist in online magazines. I am fluent in English, with a bilingual level. I am able to translate texts. I work remotely. My rates range from ARS$10 to $17 per word, depending on the complexity and length of the commissioned text. My most recent work "Pueblo Crepúsculo" was published in the anthology Purapalabra 2023. Contacts and relevant links / Contactos y links relevantes: Tumblr: @fatheriimaginedyoutaller Email: [email protected]

@mearpsdyke (she/her - ella)

Tengo 20 años, soy del NOA y me podés llamar Zee. Soy una escritora freelance, me especializo en narrativa aunque también incursiono en la poesía. Para proyectos pequeños (o sea: historias cortas) mi tarifa es de ARS$800 por cada mil (1000) palabras. Para proyectos grandes que involucren un conteo de palabras más alto, podemos charlar el precio por privado. Me especializo en el género de romance: las imágenes visuales y descripciones de emociones son lo que mejor se me da, pero también puedo escribir otros géneros como el misterio o historias más introspectivas con respecto a la psicología de los personajes. Tengo un blog de escritura bastante nuevo que empezaré a usar como portafolio, el link está abajo. Estoy dispuesta a escribir de todo por el precio justo. ________________________ I'm 20 years old, I'm from NOA and you can call me Zee. I'm a freelance writer, I specialize in narrative although I also dabble in poetry. For small projects (i.e. short stories) my rate is ARS$800 per thousand (1000) words. For international clients, my rate is USD$1 per fifty (50) words. For larger projects involving a higher word count, we can discuss pricing privately in both cases. I specialize in the romance genre: visual imagery and descriptions of emotions are what I'm best at, but I can also write other genres such as mystery or more introspective stories regarding character psychology. I have a fairly new writing blog that I will start using as a portfolio, the link is below. I'm willing to write anything for the right price. Contacts and relevant links / Contactos y links relevantes: Blog: https://servilletaliteraria.blogspot.com/ Email: [email protected] Discord: mearpsdyke

Artistas gráfiques / Graphic artists:

@denwenai

(they/them - elle)

Denwenai (elle) es une artista y diseñadore multimedia que realiza ilustraciones digitales de personajes y entornos con distintos niveles de detalle. Su estilo es fluctuante: según el objeto a retratar oscila entre las terminaciones definidas o bocetadas, un aspecto tradicional o plano, la reminiscencia con un cómic o un concept art. En cuanto a diseño, se especializa en el armado de piezas editoriales y la creación de marca. Ofrece servicios de vectorizado (tanto piezas ya existentes como de diseño propio), edición de video y motion graphics. ________________________ Denwenai (they/them) is a multimedia artist and designer who creates digital illustrations of characters and environments with different levels of detail. Their style is fluctuating: depending on the object to be portrayed, they oscillate between defined or sketched finishes, a traditional or flat look, reminiscent of a comic book or concept art. In terms of design, they specialize in the creation of editorial pieces and branding. They offer vectorizing services (both existing pieces and their own design), video editing and motion graphics. Contacts and relevant links / Contactos y links relevantes: Tumblr: @denwenai Instagram: @denwenai Relevant links: https://linktr.ee/denwenai

@sunnysidesup1847

(any pronouns - cualquier pronombre)

Sunny es un artista cordobés, se especializa mayormente en la figura humana (retratos, fichas de personaje) o antropomórfica en general. Se destaca en entornos de fantasía y diseño de personaje. ________________________ Sunny is an artist from Córdoba, they specialize mostly in human figures (portraits, character tokens) or anthropomorphic in general. They excel in fantasy environments and character design. Contacts and relevant links / Contactos y links relevantes: Tumblr: @sunnysideup1847 Relevant links: https://www.atom.bio/sunny_sides_up/

@aifastic

(they/she/he - elle/ella/él)

Aifas vive en La Plata, Buenos Aires, Argentina. Dibuja en su mayoría fanart de franquicias que le gustan, ¡pero también le encanta hacer retratos de mascotas! Últimamente ha estado probando animación cuadro por cuadro y diseño con el OpenShot Video Editor e Inkscape, respectivamente. Se especializa en el arte pop. ________________________ Aifas lives in La Plata, Buenos Aires, Argentina. They draw mostly fanart of franchises they like, but also love doing portraits of everyone's pets! Lately, they have been trying their hand at frame-by-frame animation and design with OpenShot Video Editor and Inkscape, respectively. They specialize in pop art. Contacts and relevant links / Contactos y links relevantes: Tumblr: @aifastic Instagram: @aifastic

@localshoulderdevil

(he/him - él)

Dibujos en técnica tradicional desde lápices, marcadores o acuarelas. Con diferentes niveles de estilización y juego con las texturas. Hago dibujos e ilustraciones, diseño de personaje y mini cómics. Me inspira la gente, los detalles únicos y la versatilidad de lo morbo. Hace un par de años ya que hago arte por encargo, me dedico principalmente al diseño de personaje. Trabajo con texturas, buscando una representación un poco más única de cada uno. Dentro de ello, puedo trabajar a detalle, puedo utilizar gore, puedo retratar con más realismo o mayor estilización; se adapta a la esencia de cada obra. ________________________ Drawings in traditional technique, from pencil, markers or watercolors. With different levels of stylization and play with textures. I do drawings and illustrations, character design and mini comics. I'm inspired by people, unique details and the versatility of morbid things. It's been a couple years since I've started doing commissioned art, I mainly do character design. I work with textures, seeking a more unique representation of each one. Within this, I can do detailed work, I can utilize gore, I can portray with more realism or more stylization; it adapts to the essence of every piece. Contacts and relevant links / Contactos y links relevantes: Tumblr: @localshoulderdevil Discord: dm me for it

@orfeoarte

(he/they - él/elle)

Soy artista profesional, investigador y profesor. Me apasionan el horror y los mundos fantásticos. Mis fortalezas son el diseño de criaturas y personajes, obras emotivas, y arte conceptual en diversos estilos; tanto digital como traditional. Me enorgullezco de mi educación en grabado y arte impreso: soy excelente iterando y experimentando. Para mi trabajo digital utilizo Photoshop y Clip Studio Paint. En lo que respecta al arte tradicional, uso pinturas al óleo, gouache, acuarelas, lápices de colores y tintas de varios tipos. También hago grabado xilográfico y serigráfico. Ilustré dos libros, uno de ellos también escrito por mi. Trabajo en comunicación constante con mis clientes y permito pagos flexibles y en cuotas. ________________________ I’m a professional artist, researcher and professor with a passion for horror, and fantasy worlds. My strongest suits are creature and character design, emotional pieces, and concept art in diverse styles; both traditionally and digitally. My background as a printmaker is my pride: I excel at iteration and experimentation. For my digital artwork I use Photoshop and Clip Studio Paint. When it comes to traditional work, I use oil paint, gouache, watercolors, colored pencils and various forms of ink, as well as block and silkscreen printing. I’ve illustrated two books, one of which was written by me as well. I work in close communication with my clients and allow for flexible payment plans. Contacts and relevant links / Contactos y links relevantes: Tumblr: @orfeoarte Instagram: @orfeoarte Twitter : @orfeoarte Illustrated books: https://issuu.com/orfeoarte

@tomicaleto

(she/her - ella)

Soy una artista tanto tradicional como digital. Estoy estudiando Filosofía y Artes Visuales en la universidad. En mis pinturas, amo usar colores vivos y disfruto dibujar animales y personas (principalmente personajes ficticios). ________________________ I’m both a traditional and digital artist. I’m studying philosophy and visual arts at university. For my paintings, I love using vibrant colours and I enjoy drawing animals and people (mostly fictional characters). Contacts and relevant links / Contactos y links relevantes: Tumblr: @tomicaleto Buy me a coffee: https://www.buymeacoffee.com/tomicaleto?l=es Discord user: @tomicaleto

@ramadejazmin

(they/he - elle/él)

Ilustrador argentino de 23 años. Me gusta mucho el diseño de personajes y principalmente enfocarme en diseños de fantasía inspirados en D&D. Mis inspiraciones principales son cosas inspiradas en sueños, música de Vocaloid, caricaturas, anime y arte de otros artistas. ________________________ 23-year-old Argentinian illustrator. I love character design, mainly D&D-inspired fantasy designs. My main inspirations are things like dreams, Vocaloid music, cartoons, anime, and other artist's pieces. Contacts and relevant links / Contactos y links relevantes: Tumblr: @ramadejazmin BlueSky: momomottaro.bsky.social Gmail: [email protected] Toyhouse: https://toyhou.se/RamadeJazmin

@starrynightsoversunflowers

(she/her - ella)

Starrynightsoversunflowers es una artista argentina que se enfoca en los dibujos digitales, fanarts y retratos. Su estilo se basa en el uso de colores brillantes y en técnicas que emulan la pintura tradicional.  ________________________ Starrynightsoversunflowers is an argentinian artist that focuses on digital drawings, fanarts and portraits. Her style is based on the use of bright colours and techniques that emulated traditional painting. Contacts and relevant links / Contactos y links relevantes: Instagram: @starrynightsoversunflowers Gmail: [email protected]

@bloodghoul

(they/he - él/elle)

Ilustrador argentino nacido en 1996. Trabajo principalmente mezclando los primeros pasos en tradicional para realizar y terminar en digital. Los programas que más uso son PT Sai, Photoshop y Krita. Aparte de hacer arte en digital también hago bordados y pintura en acuarela. Encuentro inspiración en dibujos y animaciones de los 90s y 00s. Aprendiendo a dibujar nsfw. ________________________ Argentinian ilustrator born in 1996. I mainly work with mixed media, combining traditional sketching and inking with digital painting. My preferred programs are Paint Tool Sai, Photoshop and Krita. Besides doing digital works, my favorite mediums are embroidery and watercolors. I take inspiration from cartoons and animes fom the 90s and 00s, fashion, and cute stuff in general. Im learning how to draw nsfw to add to the repertoire. Contacts and relevant links / Contactos y links relevantes: Instagram: @twiginthecreek

@palluniskillas

(she/he - ella/él)

Palluniskillas (ella/él) es una artista de 20 años que se especializa en dibujo e ilustración digital de personajes y personas, en un estilo de dibujo estilizado. En su mayoría trabaja temas como el amor, el cariño, la moda y la naturaleza. ________________________ Palluniskillas (she/he) is a 20 year old artist who specializes in digital drawing and illustration of characters and people, in a stylized drawing style. She mostly works on themes such as love, affection, fashion and nature. Contacts and relevant links / Contactos y links relevantes: Instagram: @pallunis_killas

@nitadraws

(she/her - ella)

Nita es una artista argentina que se enfoca en dibujos digitales de animales en un estilo “chibi”. ________________________ Nita is an argentinean artist that focuses on digital animal art in a “chibi” style. Contacts and relevant links / Contactos y links relevantes: Tumblr: @nitadraws Redbubble: NitaDraws.redbubble.com Ko-fi: https://ko-fi.com/nitadraws

@artzover

(he/it - él/eso)

Arián es un ilustrador del norte argentino que saca inspiración de videojuegos y medios de terror. Estudió diseño gráfico por 3-4 años y es un artista autodidacta desde su adolescencia. El juego que lo envió a perseguir el sueño de convertirse en un artista conceptual para videojuegos es Journey, y los que lo impulsaron son Spiritfarer, la saga Uncharted y la trilogía de Dark Souls, especialmente su segunda instalación. Sus inspiraciones actuales son DnD, Vocaloid y Bleach. ________________________ Arián is an illustrator from northern Argentina that takes inspiration from videogames and horror media. He studied graphic design for 3-4 years and has been a self taught artist since his teenage years. The piece of media that sent him chasing the dream of becoming a concept artist for videogames is Journey, and the ones that pushed it further are Spiritfarer, the Uncharted saga and Dark Souls trilogy, especially the 2nd installment. His main current inspirations are DnD, Vocaloid and Bleach. Contacts and relevant links / Contactos y links relevantes: Email: [email protected] Instagram: @arian.v.art Relevant links: linktr.ee/azover Patreon: patreon.com/Azover

Image ID for writers under the cut / ID de impagenes para escritores debajo del corte

@fatheriimaginedyoutaller (En discord y Tumblr) They/he - Elle/él

ESPAÑOL:

Pueblo Crepúsculo Resumen: Un hombre afroamericano se encuentra varado en las sienas cordobesas cuando su auto le falla. Allí el es plagado por la visión fantasmagorica de su abuelo, quien fue asesinado por el Ku Klux Klan.

Devin no creía en las maldiciones, era un muchacho de ciencia, de las sociales, pero de la ciencia al final del día. Pero si, uno "podría" decir que todo había empezado con su abuelo. Si decidía darle crédito al poder de las coincidencias. A Devin JI lo habían colgado de un árbol miembros del Klan, y si, era porque se le había roto el auto en el pueblo equivocado. Pero si creía en el miedo. Y no en cualquier miedo. Pero ese que viene de tus antepasados, que parece transmitirse por una mera gota de sangre en el mar que son los seres humanos. Como el temor a nadar en una pileta profunda, no por el agua en sí. Si no porque alguien podría venir y verter ácido en ella en cualquier momento."

Caballito de Mar Resumen: Un hombre transgénero reflexiona sobre unas noticias inesperadas

"Cuando por fin te hayan atendido primero les preguntaras cómo estuvieron sus respectivos días, porque sí te quedó alguna de las cosas con las que te criaron seguro son esos modales católicos. Luna te hablara de su madre, Sam de su padre. Trataras de contener tu entusiasmo mientras aprendes de las experiencias de tus novias. Esas cosas únicas de ellas. Sus relaciones, sus manías, sus sueños … "

Diccionario Resumen: Un hombre hace dedo hasta su casa luego de la marcha por la vuelta de Perón

"Má siempre decía que había dos mundos, el de Uno y el del Otro. Nunca supe que quería decir hasta que se me rompieron la suelas de los zapatos entre Avenida Rivadavia y Callao. La mayoría de la gente ese día estaba en El del Otro, donde lo importante era el movimiento y que no había ningún sacrificio demasiado grande; mientras yo estaba en el Mio, donde lo único que me preocupaba era mi Tana que estaba en casa sola con el pibe. Cuando llegué a Balvanera ya se me había partido el alma en dos. Me paré en una esquina y extendí mi brazo con el pulgar arriba. No sabía para qué .La ciudad estaba vacía y no inspiraba confianza mi cara de indio. El simpático siempre fue Carlitas, mi medio hermano. Él sí parecía recién bajado de la parte de arriba del barco."

La Luna Resumen: Un cacique de Puerto Iguazú, desprotica contra la luna por haberse llevado a su hijo.

"Hola ¿Cómo estás.? Perdóname que te deje este recado por medio del dueño del almacén. Vos sabes que nuncafuí muy bueno con lo emocional, los sentimientos _ Soy el hijo de mi padre en ese sentido. Cuando ya hayamos llegado a la luna, será el momento de la verdad, sabremos por fin si un lobizón sobrevive allí en el espacio. Vos nunca entendiste porque me gustaba tanto la luna. Era una obsesión infantil, capaz todavía lo sea. La verdad es que: Siento que tengo un propósito, de devolverle algo a la humanidad, porque la amo demasiado. La amo con sus defectos, sus manías, y si, con sus personas.

ENGLISH:

Twilight Town

Summary: A man finds himself stranded in the Cordovan siennas when his car breaks down. There he is plagued by the ghostly vision of his grandfather, who was murdered by the Ku Klux Klan.

Devin did not believe in curses. He was a man of science, the social kind, but science at the end of the day. But yes, one "could" say it had all started with his grandfather. If he decided to give credence to the power of coincidences. Devin II had been hung from a tree by Klan members, and yes, he was Klan members, and yes, it was because his car had broken down in the wrong town. in the wrong town. But he did believe in fear. And not just any fear. But the kind that comes from your ancestors, that seems to be passed down through a mere drop of blood in the sea that is human beings. human beings . Like the fear of swimming in a deep pool, not because of the water itself. But because someone might come and pour acid into it at any moment."

Seahorse

Summary: A transgender man reflects on some unexpected news.

"When they've finally taken care of you first you'll ask them how their respective days were, because if you have any of the things left that they raised you with I'm sure it's those Catholic manners. Luna will tell you about her mother, Sam about his father. You'll try to contain your enthusiasm as you learn about your girlfriends' experiences. Those unique things about them. Their relationships, their quirks, their dreams…"

Dictionary

Summary: A man hitchhikes home after the march for Perón's return.

"Má always said there were two worlds, that of One and that of the Other. I never knew what he meant until the soles of my shoes broke between Avenida Rivadavia and Callao. Most people that day were in El del Otro, where the important thing was the movement and that there was no sacrifice too big; while I was in El Mio, where the only thing I was worried about was my Tana who was at home alone with the kid. When I arrived at Balvanera, my soul was already broken in two. I stopped at a corner and extended my arm with my thumb up. I didn't know why, the city was empty and my Indian face didn't inspire confidence. The nice one was always Carlitos, my half-brother. He did look like he just got off the top part of the boat."

The Moon

Summary: A cacique of Puerto Iguazú, reproaches the moon for having taken his son.

"Hello, how are you? Forgive me for leaving you this message through the owner of the store. You know I was never very good with emotions, feelings _ I am my father's son in that sense. When we have reached the moon, it will be the moment of truth, we will finally know if a werewolf survives out there in space. You never understood why I liked the moon so much. It was a childish obsession, maybe it still is. The truth is: I feel I have a purpose, to give something back to humanity, because I love it too much. I love it with its flaws, its quirks, and yes, with its people.

@mearpsdyke She/her - Ella

ESPAÑOL:

-La canción del mar

Le sostiene la mirada, preguntándose por las ciaturas que alberga, por los naufragios y cadáveres que reposan en el fondo de sus aguas. Se pregunta si, tal vez, el mar tiene consciencia y los humanos no lo saben, si la melodía de las olas que se estrellan contra las rocas son en realidad palabras que usa para llamar su nombre, diciéndole que se adentre en sus aguas, prometiendo unas rocas cómodas para que su cadáver pueda reposar. Los peces se remueven, peleando por una libertad que no llegará. Pronto se quedarán sin oxígeno y morirán lenta y dolorosamente. A Kika a veces le gusta jugar a que es un Dios y los peces son su creación agonizante, quienes esperan el dulce alivio de la muerte. Ve cómo la vida abandona sus ojos y dice una oración antes de guiar el cuchillo por sus entrañas.

-Cliffs Edge

Cuando la luna está llena y es la hora donde las penas y arrepentimientos te sofocan, tiene el impulso de tomar su auto, manejar hasta la casa de Gina y pedirle que se den una segunda oportunidad, que hará bien las cosas esta vez. Pero entonces recuerda el anillo que Gina porta en su dedo anular en cada partido, y se obliga a volver al presente y dejar el pasado en el pasado. Le parece cruel que su familia la quiera más que al nuevo prometido de Gina, que aún la inviten a la casa donde tienen fotos de las dos jugando partidos juntas, en reuniones familiares, en fiestas y hasta en Navidad. Nunca encuentra el coraje para decirles que se olviden de ella para poder pasar página; la casa Zelarayán es su casa lejos de su verdadero hogar, allá en Jujuy.

-Fragmentario

Buscas en el recoveco más profundo de tu alma, alguna pasión que salve tu gris existencia, pero solo encuentras eco y telarañas sin moscas. Y cuando entruentras algos a lo que aferrarte, no es lo suficientemente serio para el resto, ¿y realmente importan los insultos ya? ¿Qué le hace una cicatriz más al guerrero, un clavo más a Jesús en la cruz, otro volcán a Pompeya? Así que te envuelves en tu capa más roja, pelas los dientes cual animal acorralado y hieres a todo lo que oza cruzarte.

-La tierra del nunca

Persigo un atardecer que no existe, espero un día que nunca fue y escucho palabras que nunca pronunciarás en cada mirada tuya. Vivo el mismo día todos los días esperando que alguien se apiade, a que Te apiades, y las palabras salgan como balas. Porque es más piadoso morir por obra y mano tuya a que la incertidumbre me consuma.

ENGLISH:

-The Sea’s Song

She holds its gaze, wondering about the creatures it houses, about the shipwrecks and corpses that rest at the bottom of its waters. She wonders if, perhaps, the sea has consciousness and humans don't know it, if the melody of the waves crashing against the rocks are actually the words it uses to call her name, telling her to enter its waters, promising some comfortable rocks so that her corpse can rest. The fish stir, fighting for a freedom that won’t come. They will soon run out of oxygen and die slowly and painfully. Kika sometimes likes to pretend that she’s a God and the fish are her dying creation, waiting for the sweet relief of death. She watches the life leave their eyes and says a prayer before guiding the knife into their insides.

-Cliffs Edge

When the moon is full and it’s the time when sorrows and regrets suffocate you, Nerea has the impulse to take her car, drive to Gina's house and ask her to give each other a second chance, promising to do things right this time. But then she remembers the ring Gina wears on her ring finger to every game, and forces herself to return to the present and leave the past in the past. She finds it cruel that Gina’s family loves her more than Gina's new fiancé, that they still invite her to their house where they have photos of the two of them playing games together, at family gatherings, at parties and even Christmas. She never finds the courage to tell them to forget about her so she can move on from her; the Zelarayán household is her house far from her real home, back in Jujuy.

-Fragmented

You search in the deepest corners of your soul for some passion that saves your gray existence, but you only find echo and cobwebs without flies. And when you find something to hold on to, it's not serious enough for the rest, and do insults really matter anymore? What does one more scar do to a warrior? One more nail to Jesus on the cross? another volcano to Pompeii? So you wrap yourself in your reddest cloak, you bare your teeth like a cornered animal and you hurt everyone who dares to cross you.

-The land of Never Ever

I chase a sunset that doesn’t exist, I wait for a day that never was and I hear words that you’ll never say in every look of yours. I live the same day every day waiting for someone to have mercy, wait on you to take pity, and let the words come out like bullets. Because it is more pious to die by your work and hand before uncertainty consumes me.

#creatives argentines #masterpost #masterpost argento #artists on tumblr #writers on tumblr #writers and poets #writeblr #artblr #argentina #argie tag #argie tumblr #argieblr #argie posting #artistas argentines #escritores argentines #commissions open #open com #latam #latam artists #latam writers #art commisions #art commissions open #writing commissions open #writer community #writing commissions #art comms open #writing comms open #animation commissions #animation commissions open #animation comms open

[aneddoticamagazinestuff]

R.I.P. Osvaldo Bayer

New Post has been published on https://www.aneddoticamagazine.com/r-i-p-osvaldo-bayer/

R.I.P. Osvaldo Bayer

Osvaldo Bayer (18 February 1927 – 24 December 2018)was an Argentine writer and journalist. He lived in Buenos Aires. In 1974, during the presidency of Isabel Perón, he went into exile, residing in Linz am Rhein, Germany, throughout the National Reorganization Process dictatorship (1976–1983)

https://upload.wikimedia.org/wikipedia/commons/c/ce/Osvaldo_Bayer_Timonel.webm

#Argentine writer #entre exilios #huelgas patagónicas #journalist #Osvaldo Bayer

[dnangelic]

sometimes i think abt towa and argentine in the very last manga chapter n cry

#*･ﾟ⊰ 𝐎𝐔𝐓 𝐎𝐅 𝐂𝐀𝐑𝐃𝐒. ⊱ ✦ › OUT. #waaaa waaaa my lucifer my boy-king and the respect and power he doesn't even want but deserves sm #dark wouldnt want towa n argentine's help if he could go without it!! all his theft has been bc he cared #n its the fact he n dai care tht they genuinely deserve the sort of trust respect n acknowledgement from the niwa fam #that the rest of the world who doesnt properly or intimately know the likes of dark n dai doesnt afford them #i justttt wooooughhhh towa argentine gratefully graciously bowing themselves with fealty #to dark who's always been bearing all this insane burden and self-expectation alone #all by himself #afraid even of that solitude but nevertheless doing everything he could for the sake of #what he felt was right saving the artworks saving precious things even if he had to steal them away and disparage himself #more and more (the more he succeeds the more he disgraces himself as a villain and a criminal) #aaaa waaaa INNER NIWA FAM CHARAS r just so special.... THEY GET TO SEE IT ALL... #how heavy the pressure is on dark n dai both actually despite the superficial layers like elmroot says #the 'outer self' that enjoys being a phantom thief and then the inner that 'hunts his own kind' #how tired dark is sometimes... #well. w/e. point is niwa fam chara writers who ever take this into account ill kiss u forever #dark can be annoying or behave in spoiled/lazy/belligerent ways sometimes but it rlly makes him and dai more like the #rebel angel leader / boy king example i try to write them as. they still care ofc they doooo #it's just they're the equivalent of the highest seat holding together their little country #their miniature empire that dark n the niwa have built up over yrs n yrs n yrs!! #dark never claims himself a king or a prince he doesn't throw his weight or titles around like that #but between paradise lost and POTO's occasional angel of darkness/PRINCE of darkness #the vibes are there in between the lines. they r right there. this dude has so much hes taking responsibility for #even though he doesn't even Have To. but in doing so- he is. and SHOULD rightly be supported #in the manner of someone in service demonstrating loyalty to him #ok. ramble over

[ripeteeth]

"It is a novel which does not want to begin. Or, perhaps, it is really a novel which does not want to end. Then again, it is a novel which does not want to be a novel at all. It will not become its own future. And yet if a novel exists as its own museum, then the reader must in some way presume that it has once existed, in the past.

Here are some usual facts involving time. Macedonio Fernández was born in 1874; he died in 1952. He began this novel around 1925, and worked on it in five drafts until he died. And this novel was a machine to prove that none of these facts had any sense at all.

Yes: Macedonio Fernández's novel would like to refute the ordinary ideas of time. And this is complicated. This is an invention whose conclusions have not yet all been noted."

Adam Thirlwell, A Preface for Macedonio Fernández

#adam thirlwell #macedonio fernandez #argentine writers #the museum of eterna's novel

[theshatterednotes]

Argentine author César Aira

#César Aira #Aira #Cesar Aira #Argentina #Argentine #author #novelist #writer #1900's #2000's #1949 #1940's #Coronel Pringle #buenos aires #Buenos Aires Province #Provincia de Buenos Aire #University of Buenos Aires #Ghosts #How I Became a Nun #An Episode in the Life of a Landscape Painter

[sistinad]

Tanta, pero tanta oscuridad.

#frases #frases en tumblr #frases en español #tristeza #oscuridad #escritores en tumblr #phrases #phrases on tumblr #spanish phrases #writers on tumblr #argentine writers #escritores argentinos #poetas argentinos #argentine poets #poetas #poets #poets in spanish #poetas en español #poetas en castellano #darkness #sadnees

[recents]

so we all know astarion was named after the minotaur of greek myth, who, despite widely known as the minotaur (“bull of minos”), was named astarion/asterion (“starry one”) by his mother at birth. asterion the minotaur was trapped in a labyrinth and cursed to devour virginal men and women thrown in there as sacrifices.

”The House of Asterion” is a 1947 short story by Argentine writer Jorge Luis Borges that retells the story of the minotaur from the minotaur’s point of view. it’s one of his best early short stories and it’s very short, only 3 pages long. you can read it here.

borges is in my top 3 favorite writers of all time, and “The House of Asterion” obviously deserves to be considered on its own merits, so i feel slightly irreverent connecting this text to a recent video game. but i reread this short story today and there was much to think about, there were many more seeds planted in my mind in terms of interpretations of the minotaur myth and how asterion the minotaur relates to the story of astarion the vampire. i think it will for you, too.

anyway. if you don’t click through and read it, please at least read how it ends, remembering, of course, that the speaker is asterion the minotaur:

:)

#baldur’s gate 3 #astarion #bg3 #bg3 meta #OPENLY TAGGING THIS. WHO CARES. CRY WITH ME. #maybe im the only person openly weeping abt this in *connection* to astarion bg #the story itself is more than enough to make you weep #god theres something about #I hope he will take me to a place with fewer galleries and fewer doors. #also like. obviously. tav as the redeemer. #‘will he be like me?’ (full of trembling hope) makes me think of durge tav ok shut up #the way ‘my loneliness no longer bothers me’ is so clearly not true from the rest of the pragraph #OKAY

[hotvintagepoll]

Propaganda

María Félix (Doña Barbara, La Mujer sin Alma, Rio Escondido, La Cucaracha)—Maria Felix is still possibly the most well-known Mexican film actress. She turned down multiple-roles in Hollywood and a contract with Metro-Goldwyn-Meyer in order to take roles in Mexico, France, and Argentine throughout the 1940s, 50s, 60s. She was so famous and so respected as a dramatic actress that she inspired painters, novelists and poets in their own art--she was painted by Diego Rivera, Jose Orozco, Bridget Tichenor. The novelist Carlos Fuentes used her as inspiration for his protagonist in Zona Sagrada. She inspired an entire collection by Hermes. In the late 1960s Cartier made her a custom collection of reptile themed jewels. She considered herself to be powerful challenger of morality and femininity in Mexico & worldwide--she routinely played powerful women in roles with challenging moral choices and free sexuality. But even still, years after he death, she is celebrated with Google Doodles, and appearances in the movie Coco, and holidays for the anniversary of her death.

Frances Farmer (Among the Living)— has multiple songs written about her, a mentally ill icon, sexy as fuck and a feminist icon

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

María Félix:

She's Thee Hot Vintage Movie Woman of México. She's absolutely gorgeous and always looks like she's about to step on you. you WILL be thankful if she does.

"María Félix is a woman -- such a woman -- with the audacity to defy the ideas machos have constructed of what a woman should be. She's free like the wind, she disperses the clouds, or illuminates them with the lightning flash of her gaze." - Octavio Paz

María Félix is one of the most iconic actresses of the Golden Era of Mexican Cinema. La Doña, as she was lovingly nicknamed, only had one son, and when her first marriage ended in divorce her ex-husband stole her only child, so she vowed that one day she’d be more influential than her ex and she’d get her son back. AND SHE DID! María Félix rejected a Hollywood acting role to start her acting career in Mexico on her own terms with El Peñón de las Ánimas (The Rock of Souls) starring alongside actor, and future third husband, Jorge Negrete. She quickly rose to incredible heights both in Mexico and abroad, later on rejecting a Hollywood starring role (Duel in the Sun) as she was already committed to the movie Enamorada at the planned filming time. Of this snubbing she said, quote: “I will never regret saying no to Hollywood, because my career in Europe was focused in [high] quality cinema. [My] india* roles are made in my country, and [my] queen roles are abroad.” (Translator notes: here the “india” role means interpreting a lower-class Mexican woman, usually thought of indigenous/native/mixed descent —which she had interpreted and reinvented throughout her acting career in Mexico— and what abroad was typically considered the Mexican woman stereotype, with the braids, long simple skirts, and sandals. This also references the expectation of her possibly helping Hollywood in perpetuating this stereotype for American audiences that lack the cultural and historical contexts of this type of role which would undermine her own efforts against this type of Mexican stereotypes while working in Europe) She was considered one of the most beautiful women in the world of her time by international magazines like Life, París Match, and Esquire, and was a muse to a vast number of songwriters (including her second husband Agustin Lara,), artists, designers, and writers. Muralist Diego Rivera described her as “a monstrously perfect being. She’s an exemplary being that drives all other human beings to put as much effort as possible to be like her”. Playwriter Jean Cocteau, who worked with her in the Spanish film La Corona Negra (The Black Crown) said the following about her, “María, that woman is so beautiful it hurts”. Haute Couture houses like Dior, Givenchy, Yves Saint Laurent, Balenciaga, Hérmes, among others, designed and dressed her throughout her life. She died on her birthday, April 8, 2002, at 88 years old, in Mexico City. She was celebrated by a parade from her home to the Fine Arts Palace in the the city’s Historic Downtown, where a multitude of people paid tribute to her. Her filmography includes 47 movies from 1942 until 1970, and only two television acting roles in 1970. She has 2 music albums, one recorded with her second husband, Agustín Lara, in 1964 titled La Voz de María y la inspiración de Agustín «The voice of María and the inspiration of Augustín», and her solo album Enamorada «In Love» in 1998. Her bespoke Cartier jewelry is exhibited alongside Elizabeth Taylor’s, Grace Kelly’s and Gloria Swanson’s. In 2018, Film Director Martin Scorsese presented a restored and remastered version of her film Enamorada in the Cannes Classics section of the Cannes Festival and Google dedicated a doodle for her 104th birthday. On august 2023 Barbie added her doll to the Tribute Collection.

#frances farmer #maría félix #hotvintagepoll #ladies 1 #fuck that old woman

[neurasthnia]

twenty books in spanish, tbr

for when i'm fluent!! most with translations in english.

Sistema Nervoso, Lina Meruane (2021) - Latin American literature professor from Chile, contemporary litfic

Ansibles, perfiladores y otras máquinas de ingenio, Andrea Chapela (2020) - short story collection from a Mexican scifi author, likened to Black Mirror

Nuestra parte de noche, Mariana Enríquez (2019) - very long literary horror novel by incredibly famous Argentine journalist 

Canto yo y la montaña baila, Irene Solà (2019) - translated into Spanish from Castilian by Concha Cardeñoso, contemporary litfic

Las malas, Camila Sosa Villada (2019) - very well rated memoir/autofiction from a trans Argentine author

Humo, Gabriela Alemán (2017) - short litfic set in Paraguay, by Ecuadoran author

La dimensión desconocida, Nona Fernández (2016) - really anything by this Chilean actress/writer; this one is a Pinochet-era historical fiction & v short

Distancia de rescate, Samanta Schweblin (2014) - super short litfic by an Argentinian author based in Germany, loved Fever Dream in English

La ridícula idea de no volver a verte, Rosa Montero (2013) - nonfiction; Spanish author discusses scientist Maria Skłodowska-Curie and through Curie, her own life

Lágrimas en la lluvia, Rosa Montero (2011) - sff trilogy by a Spanish journalist

Los peligros de fumar en la cama, Mariana Enríquez (2009) - short story collection, author noted above

Delirio, Laura Restrepo (2004) - most popular book (maybe) by an award-winning Colombian author; literary fiction

Todos los amores, Carmen Boullosa (1998) - poetry! very popular Mexican author, really open to anything on the backlist this is just inexpensive used online

Olvidado rey Gudú, Ana María Matute (1997) - cult classic, medieval fantasy-ish, award-winning Spanish author

Como agua para chocolate, Laura Esquivel (1989) - v famous novel by v famous Mexican author

Ekomo, María Nsué Angüe (1985) - super short litfic about woman's family, post-colonial Equatoguinean novel; out of print

La casa de los espíritus, Isabelle Allende (1982) - or really anything by her, Chilean author known for magical realism; read in English & didn't particularly love but would be willing to give it another try

Nada, Carmen Laforet (1945) - Spanish author who wrote after the Spanish civil war, v famous novel

Los pazos de Ulloa, Emilia Pardo Bazán (1886) - book one in a family drama literary fiction duology by a famous Galician author, pretty dense compared to the above

La Respuesta, Sor Juana Inés de la Cruz (1691) -  i actually have a bilingual poetry collection from our favorite 17th century feminist Mexican nun; this is an essay defending the right of women to be engaged in intellectual work (& it includes some poems)

bookmarked websites:

Separata Árabe, linked by Arablit

reading challenge Un viaje por la literatura en español

#* #spanish langblr #langblr #spanish notes #can you imagine that if i grind i can start reading these this time next year?!?!? #3

[uwmspeccoll]

Staff Pick of the Week

We recently transferred an early 1930s edition of Argentine-British writer William Henry Hudson's novel Green Mansions, published in New York by Three Sirens Press with illustrations by Keith Henderson, from the library's general collections to Special Collections. The story is convoluted and fantastical, about a wealthy Venezuelan revolutionary who flees into the Guyanese jungle (the Green Mansions of the title?), tenuously befriends a village of indigenous people, explores a sector of the forest that the villagers fear, and encounters a waif-like, "shy and mysterious girl with the melodious bird-like voice" who the villagers are convinced is the evil spirit-protector "Daughter of the Didi." Nevertheless, he continues to seek out the girl, whom he befriends and falls in love with, and eventually learns that she is the last member of her tribe. This ultimately leads, in a roundabout way, to a falling-out with the villagers and tragic consequences.

Originally published in 1904 to some acclaim, this exotic romance bears a palpable strain of ethnic superiority. The indigenous people are backwards, superstitious, and violent; the protagonist is European, thoughtful, and reasoned (and wealthy to boot); and Rima, the ethereal jungle girl, and her people were apparently based by Hudson on persistent rumors of a lost tribe of white people who lived in the mountains. Probably not a novel I will be reading any time soon, but I am quite taken by the drama in the black and white illustrations of Scottish artist and illustrator Keith Henderson (1883-1982).

Henderson created the novel's 35 illustrations for the trade and limited editions originally published by Duckworth & Co. in 1926. While there is no publishing date in this edition by Three Sirens Press, a publisher that specialized in high-quality reprints of classic texts illustrated by noted artists, there is some evidence that it was produced in 1932. I hope you enjoy these illustrations as much as I do.

View more of our Staff Picks.

-- MAX, Head of Special Collections

#Staff Pick of the Week #staff picks #William Henry Hudson #W. H. Hudson #romance fiction #Green Mansions #Keith Henderson #Three Sirens Press #Guyana #illustrated books

[filmforwomen]

villa victoria, the summer house of argentine writer victoria ocampo in mar del plata, buenos aires.

#diary #such a beautiful place... #borgers bioy casares the whole sur group used to go there #and writers from all over the world like camus and antoine de saint-exupéry

[evelina18-6-blog]

"The people in Munch's paintings are corpse makeup before the corpse makeup of Black Metal, nothing human below, nothing alive or dead. Black metalheads didn't invent corpse makeup: it's been around since the dawn of pigment. They did not invent the Norwegian expressionist version either. But they reinvented Munch's technique as a postmodern adolescent ritual." Mariana Enriquez, Argentine writer and Mayhem fan. Fragment of her journalistic note "Oslo" for the newspaper "Página 12"

#mayhem #black metal #mariana enriquez #edvard munch

[ariesphysics]

0° Aquarius Risings

The people listed here are have A-AA Rodden rating.

The source, as always, my beloved Astrodatabank.

Press 'Keep Reading' to view. It has 30 people so I just kept it this way.

ALOJZY ADAMCZYK, Polish resistance fighter

North Node in 1st house (Pisces)

Ascendant square Saturn, 1°

Ascendant trine Chiron, 3°

CONRAD AIKEN, American writer and poet

Ascendant sextile Moon, 2°

Ascendant opposite Mars, 1°

Ascendant quincunx Lilith, 0°

ALEJANDRA BAIGORRIA, Peruvian businesswoman, TV personality, and racing driver

Ascendant opposite Venus, 1°

IRELAND BALDWIN, American fashion model

Ascendant square Sun, 0°

Ascendant sextile Mars, 2º

Ascendant conjunct Uranus (12H), 3°

Ascendant sextile Pluto, 1°

MARIO BAVA, Italian filmmaker, "Master of Italian Horror"

Uranus in 1st house

Jupiter in 1st house

North Node in 1st house (Pisces)

Ascendant opposite Neptune, 2°

Ascendant square Lilith, 3°

BÉRÉNIC BEJO, French-Argentine actress

Ascendant sextile Moon, 2°

Ascendant square Uranus, 3°

Ascendant square Chiron, 2°

Ascendant square Lilith, 2°

JAIMARIE BJORGE, American actress and stuntwoman

Moon in 1st house

JUDY BLUMBERG, American ice skater

Ascendant sextile Saturn, 3°

Ascendant square Neptune, 2°

Ascendant sextile North Node, 2°

Ascendant conjunct Lilith, 1°

BROOKS BOLLINGER, American football quarterback

Ascendant sextile Mercury, 3°

BORIS III of Bulgaria, Tsar of Bulgaria 1918-1943

Sun conjunct Mercury in 1st house

Venus in 1st house (Pisces)

Ascendant sextile Moon, 3°

ELMER BORLONGAN, Filipino contemporary figurative expressionism painter

Ascendant sextile Moon, 1°

Ascendant conjunct Venus, 0°

Ascendant opposite Jupiter, 1°

Ascendant sextile Lilith, 1°

BRUNOZOR, Brazilian social media personality

Ascendant conjunct Uranus, 3°

Ascendant trine Mars, 1°

Ascendant sextile Saturn, 1°

Ascendant trine North Node, 3°

Ascendant square Chiron, 0°

JÉRÔME HENRI CARREIN, second-to-last convicted criminal to be executed by guillotine in France

Ascendant opposite Venus, 0°

Ascendant sextile Mars, 0°

Ascendant trine Uranus, 2°

Ascendant opposite Pluto, 3°

Ascendant opposite Chiron, 1°

LORD JAMES CLYDE, Scottish High Court Judge

Ascendant opposite Mars, 1°

Ascendant sextile Uranus, 1°

Ascendant sextile Chiron, 1°

CAMERON CROWE, American filmmaker

Ascendant opposite Mercury, 3°

Ascendant square Neptune, 0°

JOSETTE DAYDÉ, French jazz/swing swinger, chansonnière and actress

Venus in 1st house

Uranus in 1st house (Pisces)

JEAN DEMANNEZ, Belgian politician

Mercury in 1st house

Venus in 1st house

Sun in 1st house

Mars in 1st house (Pisces)

Ascendant square North Node, 1°

KIRK DOUGLAS, American actor and filmmaker

Uranus in 1st house

Ascendant opposite Saturn, 1°

Ascendant opposite Lilith, 3°

HENRY EYRING, Mexican theoretical chemist

Venus in 1st house

Sun in 1st house (Pisces)

Ascendant sextile North Node, 3°

MARGAUX FARRELL, American-born Olympic swimmer

North Node in 1st house

Ascendant trine Moon, 1°

Ascendant opposite Jupiter, 1°

Ascendant sextile Lilith, 3°

GABRIELE FERZETTI, Italian actor

Venus in 1st house (Pisces)

VÁCLAV HAVEL, Last president of Czechoslovakia

Saturn in 1st house (Pisces)

Ascendant trine Mercury, 3°

Ascendant opposite Pluto, 2°

Ascendant square Lilith, 0°

CHRISTOF INNERHOFER, Italian alpine ski racer

Venus in 1st house

Mars in 1st house

Ascendant square Pluto, 3°

OVI KOBIR, American politician and former reality TV contestant

Ascendant sextile Mercury, 1°

Ascendant sextile Saturn, 0°

Ascendant conjunct Uranus, 0°

Ascendant sextile Pluto, 2°

RUSH LIMBAUGH, American conversative political commentator

Venus in 1st house

Mars in 1st house

Jupiter in 1st house (Pisces)

Ascendant trine Saturn, 1°

FLORENT MANAUDOU, French competitive swimmer

Ascendant conjunct North Node, 1°

Ascendant sextile Mercury, 1°

MICHAL MILOWICZ, Polish singer and actor

North Node in 1st house (Pisces)

Ascendant sextile Neptune, 2°

PAT NIXON, American First Lady

Ascendant conjunct Uranus, 2°

Moon conjunct Venus in 1st house

STÉPHANE PLAZA, French television personality

North Node in 1st house (Pisces)

Ascendant sextile Neptune, 2°

AMY POEHLER, American comedian

Mars conjunct North Node in 1st house

Ascendant trine Venus, 2°

Ascendant sextile Jupiter, 0°

Ascendant sextile Neptune, 0°

Ascendant trine Pluto, 1°

#astrology #astro observations #aquarius #aquarius rising #aquarius ASC #aquarius ascendant #0° aquarius rising #aquarius rising appearance #north node in 1st house #ascendant square saturn #ascendant trine chiron #ascendant sextile moon #ascendant opposite mars #ascendant quincunx lilith #ascendant opposite venus #ascendant square sun #ascendant sextile mars #ascendant conjunct uranus #ascendant sextile pluto #uranus in 1st house #jupiter in 1st house appearance #jupiter in 1st house #venus in 1st house #mercury in 1st house #sun in 1st house #saturn in 1st house #mars in 1st house #mars conjunct north node

[dreaminginthedeepsouth]

Dictatorships foster oppression, dictatorships foster servility, dictatorships promote cruelty; more abhorrent is the fact that they foster idiocy. Buttons babbling imperatives, effigies of caudillos, predetermined living and dying, walls adorned with names, unanimous ceremonies, mere discipline usurping the place of lucidity... Fighting those sad monotony is one of the writer's many duties. Will I have to remind readers of Martín Fierro and Don Segundo that individualism is an old Argentinian virtue?

Dictatorships foment oppression, dictatorships foster servility, dictatorships foster cruelty; but most abominable is the fact that they encourage idiocy. Buttons that babble imperatives, effigies of caudillos, pre-set alive and dead, walls exuberated by names, unanimous ceremonies, mere discipline usurping the place of lucidity ... To combat this sad monotony is one of the many duties of the writer. Will I have to remind readers of Martín Fierro and Don Segundo that individualism is an old Argentine virtue?

—Jorge Luis Borges, remarks to a gathering of Argentine writers ('Words spoken by Jorge Luis Borges in the food offered to him by the writers') in Aug, 1946. Below: The Hydra of Dictatorship, a pen-and-ink drawing by Jorge Luis Borges (1946)

(Robert Scott Horton)

#dictatorships #authoritarianism #Robert Scott Horton #Jorge Luis Borges #words and writing #quotes

[popentertainment-interviews]

JA Bayona and Enzo Vogrincic

Society of the Snow is One of the Most Harrowing films of All Time – and Chilling As Well by Brad Balfour

It’s an understatement to say that I’ve seen lots of films with varying degrees of frightening circumstances informing them. But Society of The Snow was one of the most harrowing – well deserving of award nominations, including the Oscar for Best International Feature. Though the film is fiction, it’s based on a true story and is done in such a way that you feel yourself actually experiencing the cold, anguish and pain as the story reveals itself.

In 1972, a Uruguayan rugby team chartered a flight to Chile, which catastrophically crashed on a glacier in the heart of the Andes. Of the 45 passengers on board, 29 survived the initial crash, although more would die from injury, disease, and an avalanche over the following weeks. Trapped in one of the most inaccessible and hostile environments on the planet, the survivors were forced to resort to survival cannibalism of those who had already died in order to stay alive. However, rather than turn against each other, the survivors drew upon the cooperative teamwork they learned through rugby, along with their spiritual faith, in order to escape the mountains. Only 16 of the 40 passengers ultimately survived.

Director JA Bayona discovered Pablo Vierci's 2009 account of the crash, La sociedad de la nieve, while conducting research for his 2012 film The Impossible. He bought the rights for the book when he finished filming that movie. Bayona recorded more than 100 hours of interviews with all of the living survivors. The cast is composed of Uruguayan and Argentine actors, most of whom are newcomers. The actors had contact with the survivors and the families of the victims.

Society of the Snow was the closing film at the 80th Venice International Film Festival, in an Out of Competition slot. It played in theaters in Uruguay, Spain and a limited run in the United States in December 2023, before streaming on Netflix in January 2024. Society of the Snow received positive reviews and won 12 awards including Best Picture and Best Director at the 38th Goya Awards and was nominated for Best International Feature Film, representing Spain, along with Best Makeup and Hairstyling at the 96th Academy Awards.

This Q&A with writer-director Bayona and star Enzo Vogrincic took place in front of an audience a few weeks before Oscar Night.

Society of the Snow was shot in sequence, which is so rare now. Also shooting on location with all the challenges. How important was it to you to have an Uruguayan voice to this film, this passion in your life for the last decade?

JA Bayona: This story is not only well-known in the Spanish-speaking world, but also [throughout] the whole world. There are many documentaries about it. There were two movies already done (ed note: Survive! in 1976 and Alive in 1993), so we had to do this one right. We spent the time, and we wanted to shoot in Spanish. There was no way to shoot this film in another language than Spanish with a Uruguayan accent, since it was based on a book by a Uruguayan author with a Uruguayan voice and a Uruguayan actor. It took us 10 years to find the financing, find a place where we were allowed to show up and believe in the film, and believe in the level of ambition we were looking for, again in Spanish. Once we knew the film was going to be done – actually before then – we did auditions for nine months, looking for the actors. I saw 2,000 self-made tapes, and from those, I started to choose faces and meet actors online, because it was during the pandemic. We finally got our cast. That was at the end of 2020. We did two months of rehearsals – which is a luxury – maybe seven weeks. Then, all the cast met the real people they were portraying or the families of the dead. Then we spent a very long shoot, 140 days, which was extraordinary. We created such a beautiful family. Everything that’s in front of the camera was real. The friendship, the love, the sense of camaraderie, and we were there with our cameras. We captured that. 

Who was your continuity director? You've been recognized for makeup and hair. This was another-level continuity.

JA Bayona: I gave the actors a lot of space and freedom to improvise, because they were so well prepared. They spent two months in rehearsals, met the survivors, and read the book. They had all the information, and then they worked in similar conditions, with a context that was constantly stimulating the performance. There was a lot of space to improvise. We shot 600 hours of material. The heroes of this film are the editors because they had to deal with that. There were a lot of continuity issues that we had to deal with in the editorial.

Enzo, when it comes to rehabilitation in the hospital, the showers, the emaciated bodies – and being a 2024 film realist – it wasn’t body doubles. Your body weight went from 159 to 103 during the shooting of this film. That was real. How important was it for you, for the living and the dead, to honor your character?

Enzo Vogrincic: While we were making the film, as actors, we always thought we owed the people that survived and those that died, to tell their story as realistically as possible. Therefore, when we were filming things such as hunger or cold, we were barely able to move. It was a way of replicating what they had gone through, beyond our acting, because we knew that we had a responsibility to the people and to the characters. This was not a typical shoot whatsoever. It was part of the story, so fundamentally, we were willing to do whatever it took to get that realism in. After putting in 12 hours of filming and besides, we were eating very little, we found that we could set up a gym afterwards. At night, those of us who were not filming, we were training and continuing to lose weight.

How important was it to you that this project be delivered in a Uruguayan voice?

Enzo Vogrincic: This is something that was fundamental to us because this story has been told before, but not with our voice. I thought that was the key thing to do because – though some theories say we are human regardless of where we took place – but these were the stories lived and survived by actual Uruguayans. We thought that to be able to tell it in the original language, it was important for us to understand the tales of the survivors so we could tell the story better. There were terms, feelings, and all those things which mattered, because it hadn’t been done that way before.

There were scenes that involved faith, the notion of a higher power, permission from God. On the other hand, what kind of God would allow this? Those scenes were directed with great care. Tell us how you approached that?

JA Bayona: I always try to be as close as possible to the characters, to the reality, in order to be able to capture them with a sense of authenticity, a sense of place, of being there. These guys were, most of them, very religious. There was a lot of religious iconography. I like to think the film tries to be more spiritual than religious. I see these people like orphans, abandoned in a place where life is not possible, and they need to reinvent life. They need to, somehow, reconsider what is important and what is not, as human beings.

By doing so, the movie becomes a mirror of ourselves. They had to start everything from scratch. They were abandoned by the authorities, they were abandoned by their families, so they had to. For them, it was a journey of self-discovery. It was also a way of understanding that God was everywhere, in order to survive. There was not a religious institution in the middle.

When we mention cannibalism, when we talk about it, that's a word they don't like to use. I think this film makes a big change; in that it's not about taking. It's about giving, about giving yourself to others and suffering the same pain that they are suffering. By doing that, feeling empathy …understanding that you and the other person in front of you are really the same. It's like when Gustavo Zerbino told Roberto Canessa, "You have the strongest legs, you need to walk for us." [And he did just that, walking out from the crash down the mountain towards civilization until they were found, which saved everyone who remained.] 

There's an immediate realization that you and the other ones are the same. We are all the same. To me, that feels sacred, spiritual and transcendent. To understand that we are all part of the same thing. That resonates in the world we live in right now, especially with young people. We are surrounded by so much conflict, and finally having this story that tells you that we are all part of the same thing, that we are all aboard the same plane. We need to come together to find a solution. We had such an important message. That was our fuel. 

With today's GPS, the flight would have landed at its destination safely, one would hope. You had to get the technical details right. The formal report said it was pilot error. That's clear from your work. How challenging was that, starting with your visit to the crash site? 

JA Bayona: We had to give the context to make others understand what they went through, and by doing so, what they did. We put so much effort into all the details, like talking about the type of plane. We went to the Uruguayan Army. We had a very honest conversation with them. They accepted that it was human error. But it was actually a combination of human error with some kind of an early model of GPS that failed that day. They basically had to do this turn there because that kind of plane was not able to fly at 40,000 feet. So they had to go through a lower pass. They had to do this kind of U-turn. It takes 20 minutes to get from one side to the other. They turned to the right only when they were six minutes into it. That's why it's considered to be a human error because there was no way that the pilot didn't know that. The pilot had done that journey many times. But we really don't know what happened in that cockpit. I decided to leave the camera outside of the cockpit out of respect for the pilots. We knew that there was a machine that failed there. But anyway, we decided out of respect not to get into that space, so we stayed with the other characters.

Will your life ever be quite the same after the experience of filming this movie?

Enzo Vogrincic: In life, everything you do changes you. You're never the same after an experience this informative. Of course, I’ve changed. I am different. I like to take every opportunity to continue changing myself. The biggest changes were on a professional level and in terms of how much I learned. I had to go in depth into my character and we spent one to three years with those people talking about life, death, friendship, love, family and making friends. I've made 25 new friends and therefore I like to think that I did change.

Talk about your immersion in your new extended family. The family of the living and the family of the dead.

JA Bayona: I sent an email to the survivors in 2011 and in that first email, I already sent a line about Roberto Canessa that said, “Talking to the dead, accepting peace, gives us the chance to live other lives we didn't have the chance to live.” I was very struck by that conversation between the living and the dead and that sense of depth towards the dead. The more I was in contact with the survivors and the more we talked, the more I realized that they needed the film to be completed and released even more than I did.

My big question was what was left to say after so many documentaries, books, and movies. Now I realize, after seeing the film with them, that it was not about telling something that wasn't being told yet. It was more about giving them the chance to say thank you to people who’d been so important. I see how it was like a poetic thing, the fact that people who didn't make it, they gave everything they had for these people to be alive. Now they are using their testimony to bring these people back, to keep them alive again on the screen. By doing so, I realized that they were comfortable with the story. So it was more about giving these folks a chance to say “thank you” to those who had helped while capturing the mood, feelings and context of what they had gone through so that people seeing the movie would understand what had happened. 

In the hands of another director, the debate over sheer survival might not have been handled as beautifully as it was with you. There's a line in the script where Enzo’s character says, “What was once unthinkable became routine." As the black & white photos are being taken, there's a shot showing a human rib cage in the background, almost cavalierly, but it mostly was kept out of the photos. The pictures, of course, are still with us today. They're on the web for people to see. You've managed to take on such a life-and-death topic and deal with it matter-of-factly but with great respect and discretion.

JA Bayona: I'm so glad that you asked about that “unthinkable” line because that's life. That's life. First, you do what you think is impossible, then you get used to it, and then there's a moment that you don't pay attention to it. Our ordinary lives are about that. These people remind us how important every single detail is in our lives. It doesn't matter if your skin is black or white or if we’re American or Spanish. We each have our chance to live life. But when you meet these guys, you meet people who’ve been given an extra chance. That makes a big difference. Their story helps us realize that sometimes we complain and don’t appreciate what we have, the fact that we do have lives to live.

How cold did it get? At what altitude did most of the filming take place?

Enzo Vogrincic: Well, I have to admit, it was hard to tell this story. You feel you have to go through the pain yourself, in order to tell it well. The shooting was hard, obviously, because you have to connect the pain with your own body. We had to lose weight and experience the cold. You have to do it until your body becomes part of that character’s story. There were experiences that allowed us to feel the pain. We were able to work less on certain things and still retain the emotional tone of the story. The emotions didn’t take over necessarily when your body had to suffer. There were other important components, too, in addition to the pain and the suffering. You were able to see that you had a duty to carry out which took you beyond the pain, because you had a story to tell in a competent way. 

JA Bayona: Let me add one story. Enzo did such an extraordinary job. He was so committed to the performance of Numa that when we finished the shoot we had to go back to the Andes because the first time we went, there had been very little snow because of global climate change. We went for one year. Once we finished the shoot, we went back to shoot again in the background. Secretly he was in Uruguay, and I called Enzo and said, “What are you doing next Wednesday?” He said, “Nothing.” I said, “I want to take you to the actual place where the plane crashed. I don't have permission from the other producers, but I think I can manage to bring you there. How much is the ticket?” He said, "$400.” I said, “Well, we can pay $400. I can talk with the insurance company and the professional drivers.”

I secretly took Enzo finally with the blessings from the other producers just because he did so much. We had this shoot then we had the person in Germany that was to do this film. I really wanted Enzo to be there and be able to shoot some shots that were very helpful for the film. You can treat the audience by putting in a couple of shots of Enzo there and there. At the same time, Enzo had a closure to that journey. He was able to do these shots but was also able to stand in front of the great theater. I don't know what you said there, what you did there, but you had your moment there. To me that was very important. When you do a film, the whole atmosphere affects the final result. I pay attention to these kinds of details. Also, I wanted him to be there and have that closure.

Having just shared this in a theater, I know that’s what movies are designed for, communal viewing experience. But when someone watches your movie on a streaming device. How does it affect you? And to be honest, can you interpret it for any language that it needs to be interpreted for?  

JA Bayona: Can we take the Netflix people out of the room for a second? No, listen, we spent 10 years trying to make the financing for this film. We tried to do this film by conventional windows to the cinemas. Apparently, there is no market for Spanish films that are over $10 or $15 million in budget. We couldn't do this film with that budget. We spent 10 years and when we were about to give up, Netflix showed up and put in the money and gave us the freedom. They made the film possible.

At the same time, I come from Spain. To me, it's more difficult to handle the market in the US than in Spain. I'm quite popular there. We released the film on December 22nd. It was a limited release, 100 cinemas. Normally one of my films would be in 500 cinemas. We released the film in 100 cinemas. I decided to go with the film. Every week, I went to a different city and showed the film. The film is still in the cinemas, in the same number of cinemas. We've done 100 million admissions. The film actually is doing better since it's on Netflix. I'm very happy that Netflix made the film possible and made it accessible to the whole planet. We had 100 million people watching the film in the first 10 days. So it’s not true. There is a market for Spanish films. But I'm glad that the movie is still in theaters for people who want to see it there.

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: March 6, 2024.

Photos © 2024 Brad Balfour. All rights reserved.

#JA Bayona #Enzo Vogrincic #2024 #Interviews #Season of the Snow #Brad Balfour #Youtube

[lucianinsanity]

Wait, unironically what did the us do to Argentina 40 years ago?

Operation Condor (Portuguese: Operação Condor; Spanish: Operación Cóndor) was a United States-backed campaign of political repression and state terrorism, involving intelligence operations, CIA-backed coups, as well as assassinations of left-wing sympathizers, liberals and democrats and their families in South America which formally existed from 1975 to 1983. Operation Condor was officially and formally implemented in November 1975 by the right-wing dictatorships of the Southern Cone of South America.

It is estimated that between 22,000 and 30,000 people were killed or disappeared, many of whom were impossible to formally document due to the nature of state terrorism; however, Argentine military intelligence at the time estimated that 22,000 people had been murdered or disappeared by 1978. The primary target, like in many other South American countries participating in Operation Condor, were communist guerrillas and sympathisers, but the target of Operation Condor also included students, militants, trade unionists, writers, journalists, artists and any citizens suspected of being left-wing activists. The disappeared included those thought to be a political or ideological threat to the junta, even vaguely, or those seen as antithetical to the neoliberal economic policies dictated by Operation Condor.

According to human rights organisations in Argentina, between 1,900 and 3,000 Jews were among the 30,000 who were targeted by the Argentine military junta. It is a disproportionate number, as Jews comprised between 5–12% of those targeted but only 1% of the population. All were killed in an attempt by the junta to silence social and political opposition.

By the 1980s, economic collapse, public discontent, and the disastrous handling of the Falklands War resulted in the end of the junta and the restoration of democracy in Argentina, effectively ending the Dirty War. Many members of the junta are currently in prison for crimes against humanity and genocide. The Dirty War left a profound impact on Argentine culture, which is still felt to this day.

Sorry for taking this directly from wikipedia, I'm not good with words in English when I get agitated and it's a topic that agitates me 😅

#history #not mad at you it's just the topic