DATA rewrites Funes el memorioso, first published in 1942, a short tale by the great Argentinian writer, Jorge Luis Borges (1899–1986). In making these notes about the video for Moving Poems, I have wondered how to credit the writing, and have elected to see it as a very contemporary kind of co-authorship, between the film-maker, Andrés Pardo, and Borges.
The film is a fusion of experimental cinema and videopoetry. The text is a poetic prose piece. Its subject is human history and its recording. Even more it is about physical traces. The film’s elements are in synchronicity.
A film-maker’s biography says this:
Andrés Pardo Piccone, Montevideo 1977, is a film editor, documentary filmmaker and film lab enthusiast. He releases in 2012 his debut documentary feature Looking for Larisa. His documentary work focuses on objects or situations that trigger stories of collective memory and its relationship to the creation of identity and community. He is fond of small film formats, black and white and Soviet cameras.
A powerful new film from the Spanish director Eduardo Yagüe in response to a poem by the Uruguayan writer Rafael Courtoisie, which is included in the soundtrack. London-based translator and poet Jean Morris supplied the English translation used in the subtitles, a collaboration which I’m happy to say I had a small role in bringing about. The music is by Four Hands Project, and the actresses are Mercedes Castro and Montse Gabriel.
Spanish director and designer Carlos Salgado made this film for the NGO Africa Directo, evidence of the nearly universal appeal of Eduardo Galeano‘s writing. (Judging at least from my Facebook feed, Galeano’s death on April 13 occasioned much more widespread mourning than the death the same day of the Nobel prizewinner Günter Grass.) “Los Nadies” appears in Galeano’s 1989 collection El libro de los abrazos, translated by Cedric Belfrage and Mark Schafer as The Book of Embraces and described by Library Journal as a “literary scrapbook, mixing memoir, documentary, essay, and prose poem, [which] defies clear-cut genre classification.”
Salgado notes, “The project came through the agency Sra Rushmore to USER T38, which was where we did the animation and post production.” The credits given in the Vimeo description include 2D Animation: Raúl Echegaray and Alberto Sánchez; Additional 2D Animators: Rubén Fernández and Raúl Monge; 3D Artist: Alex Baqué; Compositing: Ezequiel Bluvstein, Eloy Gazol and Roi Prada; Sound: Sonomedia; and Music: José Battaglio.
This take on the poem by German animator Laura Saenger was much more simply produced (“Animation in After Effects, Music editing in Logic Pro”) but is equally beautiful and imaginative, I think.
There’s also a version without the English subtitles.
(Hat-tip: London Poetry Systems.)