Camino a Mailín
Documentary directed by Ana Cecilia Basualdo. Winning project for the Contest Line to Support the Post-Production of Feature Films of the Tucuman Audiovisual Stimulus Program of the Cultural Entity of Tucumán, Argentina. Participation in the International Documentary Film Festival of Buenos Aires (FIDBA 2019) in the "TERRITORIOS" program. Participation in the Argentine Feature Film Competition of the Tucuman Film Festival (FTC 2022)
Film Editor
Avid Media Composer
Documentary directed by Ana Cecilia Basualdo. Winning project for the Contest Line to Support the Post-Production of Feature Films of the Tucuman Audiovisual Stimulus Program of the Cultural Entity of Tucumán, Argentina. Participation in the International Documentary Film Festival of Buenos Aires (FIDBA 2019) in the "TERRITORIOS" program. Participation in the Argentine Feature Film Competition of the Tucuman Film Festival (FTC 2022)
Camino a Mailín is an observational documentary based on the structure of the traditional Greek story, that is, a division into 3 acts: initiation/presentation of conflict, development and knot, outcome and closure. However, the editing work bordered on the experimental and new forms and figures were sought for the construction of the final meaning.
The dosing of information was perhaps the biggest challenge in the editing process, which lasted approximately a year and a half.
How to get the viewer to generate interest in the heroine Olga?
At what point to tell the story of his daughter's death?
What narrative threads will we open, of the 50 hours of material that were available, to be able to close them in 90 minutes?
How to represent death?
How to contrast it with life?
How to build the meteorological factor as one more actant?
These were some of the most challenging questions that came up along the way.
Here´s a fragment:
The dosing of information was perhaps the biggest challenge in the editing process, which lasted approximately a year and a half.
How to get the viewer to generate interest in the heroine Olga?
At what point to tell the story of his daughter's death?
What narrative threads will we open, of the 50 hours of material that were available, to be able to close them in 90 minutes?
How to represent death?
How to contrast it with life?
How to build the meteorological factor as one more actant?
These were some of the most challenging questions that came up along the way.
Here´s a fragment: