All language subtitles for Bizarrofilia (2024) English

Bizarre to me, is something out of the ordinary.

Out of the usual.

It is something that attracts attention powerfully.

It´s something different that can be low

quality too,

but not necessarily. It's kind of eccentric.

It's kind of weird. Eccentric, different.

Part of its motto for me too

is that it is uncomfortable.

Like when you're on a highway

and there is the shoulder.

Everything that goes beyond the shoulder

into the abyss.

And what do you do? Bizarre videos.

And the truth is we could never define

well that was bizarre.

I relate bizarre to something that makes me laugh.

I don't know if that's what it means, but also

it could be something related to terror.

A very particular monster...

Susana Giménez dressed in

pear above Aconcagua, makes me laugh,

I don't know why:

“how bizarre, dude”

I don't feel that it has a negative connotation per se,

but it is simply something

that draws attention for being different.

Same as the word bizarre

as if we agreed

which is becoming more and more familiar.

20 years ago something bizarre was not so

“oooh”, now bizarre is everyday life.

But Argentina has bizarre things

and understands them very well

and uses them very well,

and is very self-conscious about its bizarreness.

And that makes us better than everyone.

It is the most bizarre of the bizarre countries.

Because everything that can

everything that can go well,

goes wrong, it goes awry.

And yet we find

as a bit of a way to laugh.

Sometimes we should laugh less.

And it seems to me that perhaps

is it a defense mechanism or this

when you say

“If you are born in Switzerland you miss this”, well.

Just today I remembered when

When the pro-life march was made on the July 9th Avenue,
for example.

That was something bizarre.

But this exceeds reality a little,

It's more like a fiction, for example.

So I think that

we just got used to it...

We Argentines love to complain and

We love to

be proud of our country

and at the same time

say that we are the worst there is.

So anything that gives us

bizarre sensation, we´ll say: “we are very bizarre”.

But no, it is a completely normal country.

I just say this just to contradict

to everything that others must have said.

Karinaaa!

You have to regret what you´ve said.

No, I'm not going to...

How do you heal?

Jesus gave me an opportunity

They broke everything.

They broke everything but oh well,

please look what's left.

With this I am

He is the only man in the world

who has two penises, right?

KARINAAAAA!

Once upon a time...

Self-awareness of

the bizarre comes from the TV.

I think it was TV

a very strong propagator

of the cosmos of Argentine bizarreness.

The autopsy performed by Chiche Gelblung

to the alien...who at that moment

There was so little information

that one believed... chose to believe.

Rodolfo Ledo´s “No conviction”!

One thing that was totally something
to be serious about,

but the guy had a way

to tell that it was bizarre,

that is, that of Luca Prodan

played by Luis Luque,

And for me, what do I know, it's fine,

but it's bizarre, what do I know.

Many people watched Cha Cha Cha, for example,

I would say that Cha Cha Cha is bizarre,

but it was on free-to-air television.

So it was something that everyone could watch.

see and today everyone says:

“Ah, I used to watch Cha Cha Cha”

But you tell them: “Let's watch a bizarre movie”

And they tell you: “No way.”

It's all very, very nebulous.

There was only that one, or the one by Pipo Cipollatti,

were few.

But then television

In general it was becoming bizarre

When ZAP TV started,

I think it's a great milestone for television.

bizarre moment. For me,

It was true, everything that happened there

I put my brain in soak

and was happy

those 40 minutes with Polino, with Lafauci,

with the war on short sizes.

I mean, I don't remember.

many things in my life,

but suddenly if you bring ZAP TV

to my head...

It gives me like a Rainman effect.

And well, “bizarre cinema”

I think the one who installed it is Curubeto,

with his famous book.

Bizarre cinema

But on the one hand, collecting information

about a kind of cinema that I like

and on the other hand, that this information

serve to revalue

a very underrated type of cinema

by the cultural establishment.

That book was very important. Afterwards, well,

the “Buenos Aires Rojo Sangre”
fantastic and bizarre cinema.

“Fantabaires” too

at the time

which gave rise to bizarre cinema

and the first ones were made

screenings of “Plaga Zombie”, I remember.

I remember that. The “Cinencuadre”

from Mar del Plata...

Mar del Plata, El Condor, Buenos Aires.

Buenos Aires, Condor, Mar del Plata.

The Cineclub “La Cripta”,
which was dedicated to projecting

movies in film.

The “Cineclub Nocturna”

It was called
“Ciclo de cine bizarro”,

which was aired in “CV Satellital”

If I'm not mistaken, it was the cable channel.

Hello friends! Once again

This is “Cine bizarro”, the cycle

dedicated to liquefying neurons

of the few people who are on the other side.

Lies, they know there are many.

Another spot was the video club

“Splatter House”, where there, in addition

to get movies,

you could rub shoulders with the filmmakers

of those movies

that they were going to give them

to Jose Luis Gonzalez.

“El pullover de la
madre de Jason”

Excellent!

“LSD Frankenstein”!

“La Cosa”, fantastic and
bizarre cinema.

“Martes del terror”, which was every
Tuesday at the Pueyrredón Hall,

that many bizarre movies were shown

Argentine and international.

I think if they tell me the word

“bizarre” they are telling me about something that

It was done without thinking

if it was something marketable

whether it was something mainstream or whatever.

It's like... maybe it's

“I want this movie to be seen only by a

few people”.

Maybe it's intended that way.

What I think is that it is a movie

which was probably done

using all available resources

and that the force,

let's say, that it drove her

It was like a very big passion.

The vast majority of the public

abhors that cinema

because he doesn't understand it,

because it is not funny and

because it is not advertised

in the mass media or in public places.

They fall into the prejudice that they will get bored or that it is bad.

It can still be a good day

And then it's like that

There is a guideline that tells you

what movie is good,

What movie is bad, the one that has

some twist and it is not completely even

in all its conception,

That movie ends up being considered

bad. Because it is not tolerated like that,

That disruption that has to happen

in the middle so that it can emerge

the bizarre and at the same time

for the emotional to emerge.

Because the bizarre always brings in that twist

something that has to do with

with comedy, or with fear,

or with excitement and so on.

So there is a whole problem,

there with how it is received.

I think that for a long time

there was a disdain for independent cinema

and Argentine genre and expressions

so close to the bizarre.

A strong contempt of all, let's say.

No?

From the press, from the spectators

who did not want to approach or did not know how

or maybe it is a deficiency too

from the movies

who failed to find their audience.

Festivals often cut him off

the face of these proposals and others

and the academy, consequently,

read a status report

that's good, if you don't pay attention to it

It's because it doesn't work.

When I started hearing the word “bizarre”

It came to me like

a derogatory thing, because

I first started making movies

in the year 96, 97,

and they categorized our movies

along with those of Coca Sarli,

with other “bizarre” films.

So, personally,

at first the word was a shock.

Over the years I realized

that the films we had made

were bizarre.

I can laugh a lot watching

in “Plaga zombie”

a couple of zombies playing “truco”.

But maybe there are people who say

"What nonsense is this, what are these idiots doing?

zombies playing truco”

A 79-year-old woman

maybe watches a movie

like “Los Superbonaerenses” and vomits.

I think it's a kind of

a genre that breaks taboos.

He gets into the wrong topics,

I mean, if my ability to laugh
doesn't address those issues, then I'm

I find it horrible.

Well, I'm not going to laugh.

It would be great if people could

laugh at it, because it is not more also

that an exaggeration

of everyday situations. Right?

Science will bring you back to your

beloved and that's you,

Pichu! Pichu!

When they detect that the film is Argentine

They have a phobia

and most movie consumers

fall into these symptoms.

What is this crap? Sadomaster? This is shit!

As with everything in general,

with foreign cinema and national cinema,

Always what comes from outside

will have a justification for why

does that, why did Buñuel do that madness,

why Lynch did such a crazy thing.

Bizarre Argentine films

emulate those North American films.

I think the main difference

It's that if you compare
bizarre Argentine movies

and bizarre American movies

like those of Troma, the Argentine ones are better.

The one who knows this kind of cinema

and saw them...

I dare him to watch

“Grasa” and then look for a better one from Troma

on a formal level, on a joke level,

duration, structure, etc.

Down with the USA, dude! Yankee go home!

We can say that it is practically new

It is a new cinema that

which began to explode,

let's say to develop like in the 90s

and from 2000 onwards, we started to see

a proliferation of this kind of cinema

and for me we achieved our own identity.

What's wrong with us Argentinians?
We're crazy, crazy.

We are so ungrateful

that we forget about those

who have given us so much with their art.

I think there is a part

of national cinema

that, in retrospective,

Today it is seen as bizarre,

but at the time

they were films designed

for the general public, mainstream films.

Movies I remember, based

in, I don't know, “Margarito Tereré”.

I don't know

That is a thing that... Because “Margarito Tereré”

had a movie at some point.

For example,
“La noche del coyote”

or movies like that,

that were completely forgotten.

But they are masterpieces,
I recommend them.

I do not believe under any circumstances

that those movies

were thought of as something bizarre.

I don't even think the concept was there.

In “El rey en Londres”
we see The Beatles

opening for Palito Ortega.

Yes, yes.

I was not mistaken.

It's The Beatles,

opening for Palito Ortega.

And “Che, OVNI”, which is also hilarious,

it is a film that motivated

a case of world ufology.

But you can go back much further. You can think of Mirtha Legrand, in “Vidalita” pretending to be a man

because they put a beret on him. At that moment,

probably located there.

it wasn't anything bizarre.

We see it now and we say well,

at least it is suspicious

what was going on there.

There are two different things,

one is a cinema

which is done badly on purpose.

And there is another conception of bizarre which is

a cinema that has to do with

with the fantastic, with the gore,

with the splatter,

with unrelated matters

to our idiosyncrasy,

that have to do with genre

Hollywood exploitation films.

Argentine bizarre cinema

had the particularity to arrive

late to those topics.

This is, for example, Vieyra

making the typical cinema of the 50s, 40s,
on the 60s and 70s.

If you watch “La venganza del sexo”

a movie from the late 60s,

you will find all the clichés of

horror and science fiction cinema

that Universal studios produced in the 40s

adding the sexual component

that maybe those movies didn't have.

- What is it called? “Sangre de virgenes”,

When I first started watching it

I said

“I hope for virgins, Vieyra eh,

I already know you, you're going to show me an orgy

in the first scene.”

Well, said and done.

But apart from that,
they start to be mentioned and

he kind of extrapolates to

a Yankee personality and he is no longer

Emilio Vieyra, he´s Emile Veyra...

and does not work with Ricardo Bauleo,

works with Richard Baulex.

And so did everyone. I said, “This is bizarre.”

People like Vieyra

put us face to face with the bizarre

not necessarily

is linked to poor quality.

He knew

well what was being produced abroad.

He worked

side by side with exploitation.

The exploitation

was a subgenre in the United States

that was not ashamed of being what it was,

and that was handled like today

an algorithm would be used.

And it is true that directors like Bó and

as Vieyra were influenced from that,

but they argentinized it

and there is that absolute bizarre touch.

I think in particular the

Bó and Sarli's cinema was something

quite unique in the country.

They were the only ones who were doing it

that kind of erotic material

and I think that later, with time,

with John Waters, who makes

as a kind of vindication

from the cinema of Armando Bó and Isabel Sarli.

Also a little bit

because it was always considered

that Sarli was Bó's favourite actress.

I know what they say about me.

And she was actually the partner,

then to reivindicate that place of hers

as an audiovisual entrepreneur, it's good

because it was not taken into account and

she was the one who spoke
English and negotiated

with foreign distributors.

You are my agent

and you take care of my things well,

but love with you? No.

Well, it seems to me that over
time she was reivindicated,

and that kind of cinema as well.

Not to mention that
they were banned.

Isabel was persecuted

for the Triple A, right?

In “Embrujada” when it ends,
and she walks away like totally alienated

after killing the person he loved

and so on, she is
doing some development.

And with that open ending,
you don´t know

If she really went crazy, she leaves,

if she´s like embodying
the pombero

and what she is doing

is of a different nature.

That mask particularly, I find it

very scary, it scares me a lot.

If I accidentally stumble upon that mask,

I won't be able to sleep at night.

She was never appreciated

as an actress

but nevertheless it was pointed out

that precisely by focusing on her acting

all of Bó's movies

were, well, average,

because he always does the same thing.

and so on. I do not agree,

To me it has some things that are cool.

I will go out as often as I want.
I am the owner of my life.

Listen carefully, I can't stand you anymore.

Perhaps the role of women

was basically geared towards male consumption.

Scoundrel!

At that time, let's remember, the 60s and 70s

spy cinema was a tendence

and everyone was trying to profit
with this kind of movies.

In many cases with comedy, right?
They mixed comedy and action.

That was a powerful combo.

And that's why here in the 70s
we had movies like those of

“Los Super Agentes”
which ended up becoming a saga

very successful, right?

At the time it was like a facelift

of all that were the military forces:

the cops are good, the military

also, we laughed...

Today we can see it as bizarre,

we can say that,

but it also had a certain
amount of conservatism.

Let us remember that Sandro

with “Operación Rosa Rosa”

begins to immerse itself in the world

James Bond and espionage.

And that includes the weird stuff, right? Especially the “Rogermooresque” style, right?

And there yes, when he embraces

the weird, the bizarre, without a doubt

It sinks much more easily

in that we consider

bizarre cinema or
the most weird type of cinema.

They always took me back
to Saturdays afternoons,

Sunday afternoons...

Relatives in my house,
the movie in the background.

I don't say directly:

“I got this from such movie”,

But I do feel like it is

a kind of a film school.

How other people like Orson Welles

or others like, I don't know, French cinema

I like the “Brigada Z”.

All of that is like school too, because

we watched it as kids
and we loved it.

We didn't know that was bizarre.

For example, Glut,

the alien, is a bizarre ALF.

Well, and the “Brigada Z”
was the shitty “Police Academy”

Because basically what they did was: “Well,

what is paying off in the United States?”

“Danny DeVito and
Schwarzenegger

in “Twins”?
Well, let's do it ourselves.”

For you, cute parrot.

If I have to name an influence,

it is “Los Exterrmineitors”,

in some aesthetics and some...

because “Extermineitors” ,

if you watch them, you can note that

they mimic a lot of takes

from Van Damme's “Cyborg”,

and “Kickboxer”.

But the same shots, more or less.

It's like the same influence.

There is also something
technical in the movies

which was not respected
in “Bañeros” for example.

You watch “Extermineitors”
and there are like frames...

There is a photography job,

It is also another vision of the bizarre.

It's like well,

we're going to make a bizarre movie.

We know these guys
aren't two action heroes,

but we're going to do it right.

And I feel like that
happened with “Extermineitors”.

But what are you doing, animal?

I don't want to say it badly...

That cinema where women are objectified,

where these close-ups are made

of slobbering men
looking at them with desire,

gritting teeth.

You see, that wanker attitude...

Okay, it represents an era,
the famous picaresque cinema

which I think has already died.

It appears from time to time

a slightly more empowered woman, but

It is not a battle completely won.

Good morning, agents.

Good morning, miss.

What do you mean “miss”?

Instructor, agents. Instructor.

To me they are not bizarre.

They are comedies of the time

that today, reinterpreted
by progressivism,

are currently considererd
bizarre, right? Or cancelled.

Boys.

Between the end of the 80s
and early 90s

there is a boom

at the consumer level, which is the video store.

Virtually everything was rented.

That is, it was the time when

the largest amount...

of families began to acquire
the video cassette player

because it started to be a little cheaper.

Our film industry, which was already

in crisis, for at least 25 or 30 years back

says: “We must make movies

to reach these people who rent

three or four per weekend”.

Many of these national movies

recorded directly to video,

are shot in a country house,

because in one location

the totality of

the movie was resolved.

One good example
is “Charly Días de Sangre”

which was a kind an exploitation film

from the 80s horror movies like Freddy´s.

In addition to what happens in

the movie, that is

quite bizarre, sometimes the lore

and the whole narrative,

are determining factors when

one chooses a movie,

Supposedly Adrian Suar asked

to destroy all copies.

Buy luckily, archivists exist

and they managed to get some copies

The huge ones, they are really huge

The movie that caught
my attention the most

It was one called

“Los enormes” and I discovered it by chance

in a video store.

It said “The huge ones -
spoken in Spanish.”

So that

It seemed to me that it was even

an foreign movie that was dubbed.

It was not clear

that it was an Argentine film.

And well, when I played it

and I started to investigate it, I digitalized it...

It's a movie of low size actors,

and it has a superhero-like thing about it,

There is a bad guy who steals

the Official Time, which is Magalí Moro.

The song is spectacular,

It's spectacular, it's super repetitive

and catchy.

The Simpsons

I told you to get lost

Let me show you that I am something more than

a girl with a vagina and two tits

Okay sister, you won, I hear you.

But what are you doing with that dick

in the shape of a flute?

He doesn't start with porn,

He starts as a technician

in nationally produced films.

Then he goes with his name

original, Roberto Sena,

to make some comedy films

where he casted some important actors.

It is the first, on the one hand, and then

is the most prolific.

He's a guy who filmed around

300 movies, movies.

I don't make movies for jerks,

I make films for everyone,

for wankers

and for guys who have brains

and they can watch a porn movie, and see,

and feel connected with what they see.

Identified. That woman

why is she fucking that guy?

That's the script.

But he is a guy who above all

made movies

And it is definitely the heaviest name

the most important, the most serious,

and with the most institutional
weight within porn

in Argentina.

Suñez's cinema also...

Ricardo Suñez,

That's terrible. “Forbidden relationship”

when they talk there...

the two lesbian women.

Instead, you give me security.

You made me know love,

a different world unknown to me.

I think I could never get out of it now.

Forgive me, but sometimes
you make me doubt.

No, don't doubt it, because it is like that.

What was attractive about it was that

in the video store bin

the budget movie

and the movie direct to video

had the same value.

I was fascinated by the films of...

the one I consider the number one
in local cinema.

His name only differs by one letter

from Fellini, who is Bellini.

Pablo Bellini.

He made three movies that

to me they represent bizarre

national cinema in its splendor.

I mean, it's an ectasy from the minute

1 to 90, which I don't know if they will last 90 or so.

Bellini had “Bell video” at the time

and later had other video editors

like “Buena onda” and many more labels.

So the same person who produced

the film, then distributed it, so that's how

many costs were reduced.

Pablo had money,

He paid his actors very well.

I spoke to several,

Every time I came across someone

I asked them to tell me some
story or something like that,

and Reinaldo Alcaraz told me,

he went on vacation

to Cordoba.

And he didn't want to know anything about that character, about "Manija",

He didn't want to know anything else

And once he was with
his wife in a taxi

and the taxi driver was looking at
him through the mirror,

he was looking at him, he was looking at him.

And when he got off the taxi,
he said to him

“Are you the one from the movie?”

“Yes” “The jerk-offs I must have done”

What a terrible thing to be told.

No? “I must have jerked off to that movie”

It seemed like it had gone from good vibes to a bit

Well, a little bit scared,

dude, you son of a bitch.

“Asalto y violación en la calle 69”

also has

pissing scenes, really weird stuff.

Now I'm going to piss on your face.

It's a total shock.

Even when you realized what

kind of rough movie is,

maybe a difficult film to watch,

but I think that ending... is surprising.

It is very surprising.

SON OF A BITCH!

Look at the magic we have in this
country, huh? It's beautiful.

Maybe it has something to do with that too.

It's like they take me back in time

when I watched them with my friends.

No, it's terrible that I like them so much.

those movies.

Now that I think about it,

If I had dedicated those hours to something else

thing, I don't know...

I might have a degree.

Well, I was on vacation in

Saint Therese.

And there was a play called

“No me toquen el pinguino”, with Silvia.

I was with my girlfriend,

and we approached her there,

so right there, so as not to lose

the push that we got going

I said “well, lets do this,

we have to call Reynaldo”, and he accepted.

Reynaldo couldn't believe it.

Reynaldo is my weakness.

I know all the phrases from “Manija” by heart.

There's a scene there at the beginning

that he just got out of jail

and that's where the movie starts.

We are driving around in a car,

and he says:

“Manija is back, kid!”

He tells me.

And I was excited.

“Manija is saying this to me”.

Everything went to hell.

Manija is back, kid! Manija is back!

And I think there is a

very important movement,

very big, of bizarre cinema

in Argentina

and there is a great movement and above all

a movement that many people don't know about.

There is hope then my brothers.

If these humans

fail what the hell are we going to do?

Rafael, there is hope,

you have to have a wine and everything.

They are the chosen ones

They are already with us.

I'm really stoned!

Fede Tarantola's films,

whom I worked with a lot.

It also has like more things

of an intentionally sought bizarre,

but many artistic things appear

also, that makes it different

and achieves the rarity of the bizarre.

“Ultra-Toxic” by Jimmy Crispin.

It is a film that is so bizarre
that it borders on the artistic,

You don't know anymore...
It's there like on the limit,

but I think that is the extreme.

Sosa Arroyo.

He was the only guy I knew who

made a movie that was serious,

but that didn't work,
then people laughed,

he then realized about this

and added comic scenes

to acknowledge
that it was funny.

I didn't see any director

so self-conscious to recognize

"Hey, it turned out

not so good,
I'd rather make it a comedy.”

- Hello

- Look, Victoria, there is a

nephew of mine from Bahia Blanca

that... well, actually I am Tangalanga,

this is a joke.

What the fuck did I do?

The particularity
about Cosamostra

is that they make genre films,

and they add something that other producers

don´t do

which is the eroticism.

They approach to a genre that goes a little bit

towards the erotic,

towards erotic trash, which is good,

I think it differentiates them

from other producers from the environment

They are very good friends

with Mondolila and

and the films are different.

As if Mondolila does something more

bizarre and more like a style

more Magariños out there, and Cosamostra

take it a little more serious

and over time they were also

trying to raise the technical quality.

You know well what happened

Last time, we almost all ended up, we almost all ended up in jail.

Botaniz...

El Pollo, a big one.

He has a verbosity when he acts that fascinates me.

And you can't stop listening to it.

El pollo, the guy

funniest in Argentine cinema.

I've seen it in many roles...

playing a guy who scares you.

What a way for these people to talk nonsense.

When it comes to talking about who

are the ones who carry the flag of national

bizarre cinema,

or at least Argentine fantasy cinema,

made independently,

It is inevitable

to talk about “Farsa Producciones”

These guys spearheaded all of this

because they were kids when they did it.

Let's remember “Plaga zombie”

which was released in 1997.

They were children.

Ten-year-olds making zombie movies directed by

them, performed by them, edited by them.

If that's not something unusual

I don't know what it is.

So, we kind of have the question, well:

"If we watch this type of film not filmed in Haedo,

filmed in Connecticut, and with a little more budget,

do we consider it bizarre or we consider it

a zombie movie?”

By a social convention

alien invasions

take place in the United States.

No to Haedo, Haedo no.

For now, are you thinking of ending

with the zombies

or will you continue at some point?

Because you owe a lot to zombies, don't you?

You have gotten us into a mess, I beg you.

I want you to meet them:

This is Nacho, Alejo and

Estefi.

They are going to be helping with the program,

So well, treat them well because they are from Capital.

This is the best moment of my life,

a unique, special moment,

I will give my all so that you feel

proud, happy and proud...

Bianca has been my partner for ten years now.

So when we film we are

kind of like the “Pimpinela”, we fight,

she wants to do what she wants,

she destroys all the dialogues.

It was good to be able to discuss a lot.

It wasn't that good

maybe for the people

who was working with us.

But then people love her, so

I am condemned to continue casting her

in all the movies.

There aren't many movies with strong feminine

characters neither,

and many times the discussion

It was about “well, I am a woman,

I read the whole script,

I'm very into the character,

I don't know if Marisa would say this,

Maybe she would say this a little more....”

It happens to us that most of the directors

are men, aren't they?

And that also usually

directors are also screenwriters.

So it's difficult for them

to think

from the point of view

of a female character,

like the story that occurs to them

when writing a script

It's a man doing man things

and we women are kind of “the bitches”.

I like the sun,

But I like water more, I like the sea.

There is also a more “degenerated bizarre”

like for instance “Supermondo Trasho 3”,

it was super degenerate.

I act in that one,

but luckily it is not easy to get a copy.

I was a close friend to Mariano Peralta.

He used to do something very funny.

His mother had a video store.

There in Dock Sud, he finished

filming a movie and he took

“The Exorcist” VHS case, bye Exorcist, hello Peralta.

So maybe the people who went to the video store

and wanted to rent a movie

ended up watching a couple of crazies

running, all blood stained

by Dock Sud and you say “what the hell?”.

They really screwed him. And then I talked to him

and he told me, “it's good, let them talk”.

I mean, no matter what they say,

let them speak badly, but let them speak

And that's him, you know?

It's like: "Okay, okay, I mean,

I'm going to do what I feel like doing

and if you don't like it,

Well, thanks for looking and

three kisses.”

And then there’s the movies made by

Sarna punk cinema crew.

They take it to a limit that is almost difficult

to tolerate even for the

people who are used to watch
bizarre cinema.

And there it is

a third meaning of bizarre.

Bizarre is something that is done wrong on purpose.

The bizarre is something that was done well,

but it turned out bad.

And there is a third meaning

that the bizarre has to slap you,

has to knock you out.

Yes, those are the “Trash”

especially the trilogy.

The slogan is to bust some balls.

And it is also called “Sarna” (scabies)

because it stings

and it bothers and that's part of it.

To manage to generate something

from that place.

Tell me, do you believe in God?

Oh tiny unborn child,

we will invoke your heavenly strength.

If it happens a third time,

There is a declaration of war.

Besides being called garbage,

They are made of garbage.

And it's part of the concept too.

I mean, we were going out to

to build “Trash” sets

we got into a van

at twelve o'clock at night

and we went out to tour factory areas

and we lifted pallets and then

We took apart those pallets

and we built props from that.

And stirring dump trucks...

There is a scene that is completely made

with pallets,

a carpet that we found in the

street.

All quite on purpose,

made from trash.

I worked with the guys from Farsa

And one day Soria comes and tells

that somebody treated us like hippie cinema.

“You guys make hippie films” and the truth is that you can say anything to me, but hippie...never.

Peace out man.. Ohh dude...

But what is your problem with hippies, dude?

And we are a generation

with Rébora, as more

close to punk,

We grew up in Cemento, well, those things.

The punk movie thing starts by

making movies just for the sake of it,

without expecting anything in return,

and with whatever is available. Like “do it yourself”.

They were evolving the thing,

They even made a method out of it.

And that iwhat the punk philosophy is all about,

like the cinematic punk

which Marcelo Leguiza also does

or at one time he did it,

and that's also why we connected

quite a bit with “Sarna”.

The reality is that we made

eleven films.

Yes, eleven. And the first three

we experimented with that concept

I tell you “Hey, this is bizarre...”

We did one called “Mutazombie” in 2005,

which was distributed around the world

and I said “my movie

is being distributed” and today I say “I am an idiot,

that movie was crap.”

But we took that approach

“because it's bizarre or we're going to do it like this

because it's cheap”.

And when you play around that concept

you realize that your capabilities

you are not raising them.

You're saying, "Well, I'm going to do this

just like that because it's bizarre."

I regret doing it like that.

One grows, one tells other stories

is changing the way to film

and sometimes, someone

reminds you of it,

And you say, “No, wait, I made six more movies after that, why do you remember me for that one?”

There I began to understand what I wanted:

to tell things within the bizarre genre.

That's why I'm here almost all the time

returning to the topic of

"Well, what's bizarre in function

of how we tell it ”.

Or maybe bizarre it's not just the
intestines that come out

of someone.

The bizarre can go anywhere,

It can be anything

that you take it to a universe.

What a blow!

“Proyecto Pitufo Enrique”

We first watched it
with some friends of mine,

I remember in a “BARS”, because

Of course, the title refers to an event

that happened in “Cronica TV”.

What a smurf this is!

And we thought it was a thing

and we found another one,

such a delirium

intense, right?

An absolute “I don't care about anything”.

I think Elvira Serio was it, right?

And it is... how do you say it? I can't find the word,

It's like an alter ego.

I gave myself that name

so as not to give my name.

I had a Yahoo email,

I mean, imagine how long ago this happened

fifteen, twenty years, around there. Yes, twenty.

Some people wrote to me: “Elvira, you're really cool...

I would like to invite you to...”

I think some of them I answered
with something like: “no...look”

and others I didn't even answer.

I never used that

to drive someone crazy, but

I would have to go back to that email

to extort people.

Sure, yes, like the “Videotomia” movies

that at the time I saw them because

I saw Ezequiel more often,

but he didn't make that many either.

Ezequiel is a professional smoke seller.

I don't really know why I'm sitting

here, because I'm a bit of a charlatan, that is,

It's not that I "dedicate myself to this"

If I have time, I'll do it.

In “El Pitufo”..

We were filming a scene

with a whole bloody bathroom

and in the bathroom it was...

I don't know how to say it,

like there's a little window like that.

There was a girl in her underwear, all blood

and when I look out there is a woman standing on the other side of the window, all shocked.

I told her, “We are making a movie.”

and then the police arrived.

When making “Cichonga”,
we had to shot

a scene with “Mister Pancho”, which had

a whole table full of cocaine bricks

and we loaded the whole car

with cocaine bricks and fake money

and we go there, to Hurlingham.

And to cross the General Paz highway

There is a police checkpoint and they just stop us

because the car, I mean, we were in my car

that was Cichonga's car

and had written on the hood

LA PORONGA, and they tell me
“what's up with

the documentation?”
It was a bit loose

and he makes us open the trunk.

We had to explain to the police

that we were going to film a movie.

“Yeah, yeah, sure.”

Try it, it's flour, it's flour, it's not drugs.

I love Cicho.

Cicho is an absolutely charismatic.

It makes me laugh

because he is the crook, always.

Cicho is not only a great actor, but he is also a producer,

a cinematographer.

Come on, come on, I'm going to burn up.

A phenomenon, Cicho,

is a star.

Besides, a very funny guy.

A great guy to film with.

I'm not “Gordo” anymore.

I am now “Lord Gordon of the light”.

- You've changed.

- I have evolved into a state of matter

that you, an inferior being,
will never be able to understand.

- Stop, “Gordo”!

- Shut up Homo sapiens, thinking monkey,

How dare you come between Lord Gordon

and its objective?

Stop, “Gordo”. Let's take a selfie.

And I said, why do people

can't see anything strange or

ridiculous that takes them out of his daily routine

and laugh for a while?

Why can't this be done?

So it kind of started there on the one hand,

that's where Mondo Lila started,

that was like from the pictorial.

I started making my first short films

bizarre, I started to get motivated

because a lot of people started to come,

that people laughed, that people was

taking part of the screenings

and then feature films were being made.

And it's like the bizarre proposal

was always there.

It's like "Hijos de puta por elección”

I have a lot of respect for it,

because it was my first feature film,

because I also was surprised.

First I started screening it in places,

like in bars. Not in the premiere

at a festival, that very film.

And every time I screened it was sold out,

and people laughed and participated.

So that movie

left me with a very pleasant memory.

So that's why

I also said okay, let's do part two.

Chick, darling.

Dani Zalenco is the great one, as an actor

and as a producer.

A few days ago we were filming some things

in his house, which is always offered

so we can go shoot.

Dani's house is in more movies than I am.

We once went to BAFICI

to see John Waters

and I said to John Waters:

“This is the Argentinian Divine.”

He fell completely in love,

He spent a lot of time talking with Dani.

“El onanista perturbado”, by Zanardi

that has like that phallus

that beats the one from “Muere monstruo muere”

“Well, I thought I saw the longest

phallus in the world and no.”

And it's like

that some people may say “hey,

It's a lot, it kind of disgusts me,

It makes me sick” and others will laugh.

Ramón Caribe is the best Argentine actor.

He appears on screen

and the movie instantly improves.

Ramón Caribe is a Shakespearean actor.

He has the skill to never follow instructions

You can't say such a barbaric thing.

I think he played as four villains, easily.

He could have done the same villain,

but you see the four villains

and they are not the same character.

And to achieve that, look, Reymon.

The truth is I don't know what I did

to have the friends that I have, because...

from all of them, I don't make one.

Either I don't pay any more attention
to them, or I don't know.

With all the assholes

you have as friends,
you have to make them pay.

I began to realize that one

always deposits more trust

or imagine the funniest situations

starring male actors,

because “men are not

afraid of being ridiculized”.

Why don't we try making a movie?

where the action

and the one that motivates you

and makes you laugh and the one that

you identify with

is a woman?

In that spirit

It is our responsibility as actresses

to propose, to find

our comedy,

from a side that perhaps

It's not the one in the script,

but to be able to propose things ourselves.

Yes, I think my films

have bizarre elements.

Yeah.

If I had more budget maybe not,

but since I don't have it...

Telling the stories

as best as you can,

with the resources you have available

and then from outside they rate you.

But I don't know,

I don't think that when Nirvana were playing,

they tought “We are doing grunge”

They made music.

Then, on the outside they will rate you,

and you look at yourself from the outside

and you say “ah, ok, I was doing grunge”

In the moment, one builds, one does.

“Limbo Alucinante” which is the last movie

that I did, it took me...

because we were in a pandemic.

It was almost all done

in an apartment with chroma

and I did it in about eight days, ten.

Post-production was a problem

because some of the effects were
very difficult to create

It took me a little over a year and a half.

When we made “La isla de Lost”,

We were all in,
because we were a bunch of misfits

making a video in the Ecological Reserve.

My girlfriend at the time

lent me a small digital camera.

It is very poorly recorded

and I remember watching

the twelve o'clock news

from the night of Telefe News

and Paolosky says “look at these guys

what they did”

And then “La Isla de Lost”
is played on Telefe.

And I was like:
“What the hell is going on?”

My whole face turned red.

I guess that was going viral

at that time. Thousand views

in one day we had, imagine.

We started making “Toronja

producciones” half in jest,

we gave it the name

“Producciones” as at that time

similarly as to putting “www” to everything:

Toronja Producciones.

We dubbed bloopers

with the voice with the helium effect

and it was more of a hobbie

with friends who get together to do something.

It wasn't very well thought out

as a thing you could profit from.

How much longer?

In the year 2009, aproximately

We premiered with three friends, a web series

which was called “Hongo Nuclear”

It was designed directly for the Internet

and in 2009 there was almost no

content made for the internet

made by more or less film people.

But these projects that

we can classify as bizarre

are born from a place of:

I want to do something fun, enough of that

I don't want to have a team of thirty people,

that is a mess

and that everything is fine,

but it's like everything takes forever.

Each plane takes a lot of work, you see?

I want to be with my friends

laughing my head off and recording.

For example, when I did

“Bailando con el peligro” it was very recurrent

that many things that i wanted to be played as an action scene

really cool, really professional

but for some reason the bizarre was filtered in

and it was like a cross between the two things

very strange.

And I carried that over into the sequel as well,

which is “Nacido para morir”,

I already said:

I am a serious director and I do things

very well and I am a very capable guy.

So I was filming with a crew.

It's full of people, everything is great
and professional, but

Suddenly the little train of joy passed by

and the little train was something else.

And that freshness is something that always

I try to come back from time to time.

I do a project that

It ruins my life because it is so difficult.

But afterwards it looks great, hopefully.

But now I want to

do something that makes me laugh for a while.

Now you'll see, fatso!

No no no no, no.

no and no.

In a “Buenos Aires Rojo Sangre” we started

to meet other people.

We met Andrés Borghi on a shoot.

We said: hey, we want to do shorts.

YouTube was already there. At that time

YouTube was already there.

We want to make short films, more

nonsense, with shorter things,

more to the point.

Well, come on. And we get together.

and there came out “Coso”, for example.

Already mixing the professional part

what we all began to dedicate ourselves to,

but we still remain a group

of misfits having fun,

that's what we did

always since we were kids, since we were teenagers.

To get revenge on the Chameleon

I had to infiltrated the villains.

We started “Masacre Marcial”...

We had done “Sádica 3”

which was a previous film.

Pablo showed that movie to his

taekwondo partners.

They were all great fighters

and they gathered themselves

the guys said:

“Let's make a movie

let´s make a movie” and there

we started filming it.

But the movie was done on weekends.

And also when you face

to a feature-length script, you start

seeing things that don't work.

Then you have

to reaccomodate things in the middle,

you are missing scenes, you are adding them, then

that makes the movie longer.

much more, I think.

It didn´t take six years

because it was a blockbuster,
it took

six years because

three months went by and we didn't film.

Then everyone grew up,

were changing,

but also

we were learning new things.

So there are scenes that are really good,

that the fights are barbaric

and others are a pain.

And it turned out ... a better movie.

When the film is already in process,

everyone starts to get hooked, you see?

as if they were beginning to contribute from their place

they stop taking up that space.

“Well, I am the actor”

and they start to get involved

at the production level.

And one said, “I have a boat.”

Let's make a

scene on a boat, that is.

I mean, I knew the guys from

the music scene

It turns out they were writing “2 locos”.

I tought: what is it like to write films?

And that kind of generated the click and

“Uh this is so good.”

And I started proposing gags,

a couple of jokes and they liked them

and they told me, hey, next Thursday

come here and we'll continue writing.

After having had the experience

of “Masacre Marcial”, which lasted five years,

We said now we have to make a movie

in quite the opposite way.

We are going to start it

and we are going to finish it in a year.

I left my job.

I mean, we raised money, I resigned,

we went to Mar del Plata.

- But are you a man or are you not a man?

- If I'm a man, how come I'm not a man?

- Let's go to Mar del Plata

- Come on

“2 locos en Mar del Plata”
takes a clear influence

from Carlos Galettini and the films

from Francella - Disi, the TV exploitation

programs like “Brigada Cola” and others.

They take

what the movies were about

as well as those of “Los bañeros

más locos del mundo”

which are also movies

which at the time were mainstream, right?

It´s a very self-conscious movie

of the tribute,

but it's not a

100% nostalgic movie

of that cinephile lineage.

For me “2 locos en Mar del Plata”

It's like a vertex in independent argentine
contemporary cinema

It's like something happens there that breaks

or it is created, and there is a new

line of films that are more inspired

by “2 locos” than of Galettini's cinema.

And it is a film that in fact,

It's like the Argentine summer movie

par excellence, actually more

than any of the “Bañeros”,

because they made more “Bañeros” movies

recently and the truth

is that really none of them are funny.

Those are films made without desire,

without ideas, with stars of today,

but without a drop of inspiration,

without flight, without imagination.

And yet “2 locos” has all of that.

What are you doing here?

You slacker, nosy?

Get the hell out of here.

- But what poetry?

(indistinct discussion)

Ehhh what an ass!

And Raúl Schurlein is a great one,

a historical figure of cinema

who unfortunately died because well,

We would have called him to do

a thousand more movies.

Schurlein had a lot of charisma

and I think Lojo - Marini, that wonderful duo

have exploited the

characteristics of Schurlein's comedy.

He was in a bunch

of things we did for “VideoFlims”.

We have paid tribute and homage

to Master Schurlein and I also understand

that the guys have not forgotten

about Raul.

Grab the shovel, you lazybones!

Oh, what rubbish!

I need some urgent advice.

Divano is Marlon Brando.

If he arrives to the shooting
and did not stay

asleep or drunk somewhere else

he is a soldier who always delivers.

It's pure charisma.

A piglet's heart.

For old times sake.

Now what do we do?

We fuck them up.

If you watch a Netflix movie

everyone is pretty.

There is a lot of diversity.

They cast a Chinese, an Indian,
I don't know what,

but all pretty, little models.

So, choosing friends

to act,

that are not beautiful

the movie becomes a little bizarre

from there on.

Yes, there are actors that to me

are essential, but

because I really like the way they act,

not because they are part of that group.

I invented several of them and they don't pay me.

I had gotten angry

Because they don't pay me when they hire them

in big movies, but oh well.

It is also true that sometimes for an actor

It's a problem to be part of these movies,

because they are pointed out, judged

Less than ten years ago

I don't think there was a complaint,

but there was some fuzz at the

“Buenos Aires Rojo Sangre” in which a

Gorevision movie had offended....

That was a symptom of what was coming.

We have to go to the rebel base, idiots.

You must have patience.

Calm down Princess, we're leaving.

Shut up, you horrible man!

She's a princess.

It's the movie that provoked the most anger...

the one we screened and generated more anger

Incredibly was “Star Wars Goretech”,

which was the last one we screened,

but it happened at a time

that there was a lot of sensitivity there

and the humor was not understood too much

and there they hit us with a lot of criticism

on social media, everywhere.

In fact, they didn't screen it

anywhere else.

That movie was... it's a masterpiece,

but it did not come through.

Maybe because it was very strong.

“Star Wars Goretech” is dubbed

to Hindi and Russian and it is spectacular

because the hindu version

They act almost better than here.

A guy who is a hero at this point,

who is German Magariños.

German Magariños

A leading figure in national bizarre cinema.

He's a guy who always remains faithful
to those kind of movies

who is always challenging everything

that he finds in his path.

When I'm filming

I like being in a bad mood

and yell at everyone.

I like to do that,

but partly in jest, but I like it

He always says: you have to act seriously,

morons, don't fuck around.

The magic of the bizarre will happen

because the situation is already bizarre.

And if you act it seriously,

it's even more bizarre.

Back to you,

Juan Peron.

I think my first short film

came out in '94.

We discovered that we had

some acquaintances who made short films.

I didn’t even know

about the existence of a video camera,

I didn't know that product existed

and we met one guy who had one.

We started filming shorts, shorts,

short and then, as everyone says, well,

if you are making shorts,

why don't you make a feature film?

And it was actually in 97

that we started filming

a movie called

“Ruedas de metal”, which was a

“Mad Max” type, but we never finished it.

We had all kinds of setbacks.

There we realized that it was not so simple

to make a feature film.

Actually the first real one is from 2002.

It's “LSD Frankenstein” from Gorevision.

I wasn't into Gorevision yet.

A crazy thing.

I remember watching that movie,

It was the first Gorevision movie I saw

And I said, What am I doing watching this?

I can't believe I'm seeing this. And no,

and I couldn't get up

to put the stop on the VCR.

Bizarre and beautiful.

Maybe when we made “Sadomaster 1”

that was, like, a boom,

it was like a hit.

To have been a thing we did

In five days, I think we shot it in five days.

with the mini DV camera,

with my friends there and just like that.

It was a success

It came out on DVD in the United States, it was on USA’s Netflix

catalogue, when it was with DVD.

And it was the Netflix´s

worst rated movie

- For glory.

- Cheers Noriega.

The first Pochito...

Pochito we say to those movies

we make in one night,

we made one that was called

“Alan Smithe´s Nosferatu”.

Which was like a found version of Nosferatu,

that we had invented

as if it was an Argentine film

from the 70s 60s,

which was lost due to censorship.

That was rumored to be directed by

Jorge Polaco

and that it was the first vampire argentine movie

It was a version of Nosferatu.

And the crew from “Festival Inusual”

told me they wanted to screen it.

So, in the screening day

we went there, and the public wasn´t our kind of espectator

It was an audience of people

that they were going to see something about vampires.

There were intellectual people

So, man with a beard and a pipe.

We started panicking,

we had to leave in the middle of the movie.

We had to run away, basically.

Because when they presented the film

they pointed out to us: “there they are

that they made it”, and I asked
the presenter not to do that,

and we left halfway

because it was terrible.

Those people said that the movie

was terrible.

Master, you're back, you're back.

We were filming “Goretech

Bienvenidos al planeta hijo de puta”

And we were at Sarmiento Park

and the director came up with an idea, he said:

“There has to be a clone.

A clone of your character.”

I said, “Well, whatever” So he pulled out some green makeup

and painted me all green.

“And now you are the Hot Tuna”

because he spent all day

saying “hot tuna, hot tuna”

I don't know where the hell that came from. The thing is

it was paint.

I don't know for how long that paint

had been in the filming bag,

and I couldn't get it out.

I spent a week going to work

with a tone, a green hue.

Master! Hot tuna! Hot tuna!

Every now and then

I watch the Gorevision movies again

and I think: “that day Gorevision

saved my life.”

For example,

I just had a breakup, everything was bad

and I was, well, deep in shit.

And suddenly going to a shoot and

being with all of them and sharing and so on,

It must happen to many

that should be in this documentary

that cinema also saves you

even from that place.

No, no, not just by watching it,

but sometimes

also participating,

lending a hand or acting...

They act and film

and they produce with complete freedom.

Anarchy!

I am a fan

And I'm not saying this because he's a friend,

but I'm a fan of Vic Cicuta.

He is the face of bizarre cinema

and independent cinema.

The guy from the Pueyrredón Hall,

the doorman, one day

looked at the screen, saw Vic Cicuta and told me:

“He's like an Al Pacino of the underground, isn't he?”

I was born without fear.

The doctor cried

when I peeked out of my mother's vagina.

VideoFlims is nothing more and nothing less

that a new small company

determined to unify all these

independent filmmakers who until now

were running around loose and giving them a unit

and a commercial outlet.

“Videoflims” was an independent film distributor

We edited around 70 films

on DVD, we took them to the cinema, to festivals

and so on.

We wanted to invent

something that would give us work because we all were broke.

So we said: let's sell our

movies.

We took them to video stores,

There were cultural events, movies,

whatever,

and we put a little table

there and we sold the movies.

We were contemporaries of a second

wave of Argentine fantastic cinema.

There were people who were predecessors

to us and we continued a little

with what was happening, but we lived

a moment of great turmoil.

Yeah? That's like the end of 2000,

early 2010.

In that decade.

I think it was a good kick-off for

taking fantastic cinema

out of the closet.

There was a very strong feeling

because there was a generational change

with the determination of changing everything.

The physical formats were still circulating.

We were young, therefore,

we had a very volcanic energy that

sometimes got us into trouble, sometimes

placed us in privileged situations.

I mean, we gathered with presidents,

we had trips.

We lived through some very exciting experiences
with the guys.

I had my pants patched

in the crotch because we didn't have a penny.

And well, and so on

we got to know a lot of people

that I assume

will be in this documentary.

There were movies

that were so good or not,

but they deserved...

It seemed to us

that they deserved to have a DVD edition

as pretty as “Matrix”, let’s say.

With a DVD authorship,

with extras, with menus and with things and with

options and with director's comments

and with a cover and graphic design

so that you

you can put it in your library.

And why that low budget movie

can't have that?

That was the main motivation for

SRN Distribution

at the time and also

the guys from VideoFlims did it,

but the difference between them, was that

SRN was not turning down movies.

Then also many times,

and speaking of the bizarre,

sometimes we accepted to distribute some movies

that Videoflims

said, “No, no,

this is not going into our catalogue”

And they came to SRN and we said

“Yes, Uritorco! Obviously we are going to release Uritorco on DVD!”

Vi, vi, vi, Videoflims.

Some events were held

which were called the Videoflims galas,

which were once a year.

We all gathered in one place.

We asked all the directors

to make some advertising spots

promoting the same distributor.

And we organized the championship

of those advertisements, with a jury.

And most of it was all bizarre.

Did you do your homework, asshole?

You stupid idiot!

What the fuck do you want with your life?

Fuck you!

But dad, it cost me five pesos!

You got scammed, asshole!

There were some that were spectacular.

Well, the Gorevision one was great,

the Toronja one was spectacular.

We went to Las Toninas

to shoot the spot for

“The true Messiah”,

there is some truth to that.

But well, that also faded away,

It was already the end of the DVD era,

Streaming was starting to be a thing

and we didn't know how to do it.

We didn't know how to

to be able to charge for the film because

that was another of the keys to Videoflims.

It was that with that money

we paid the director

so that he can film another movie.

Welcome friends, Vaco Moloco brings you

the latest world event.

Hold on.

The great...The great...

Hey, but we already saw this shit,

play Arvitek, dude!

Damn, play Arvitek!

Arvitek! Arvitek!

At one time with some friends

We were doing a film cycle

which was called “La gran maratón de cortos”

“La maraton de cortos”... How can we forget it?

I love that place. I don't know if it still exists.

I have gone...

very drunk to “Finisterre´s bar”

to see if there was a party that day.

It was done on a Thursday every 15 days

Some days it was packed with people

and it was beautiful,

because a community was formed there

very nice, very united, let's say.

It was like it came together... it was like

Vieytes' soap dish,

It was like... where the revolution was going on.

Yes, it was beautiful, there were short films,

and if the audience booed you, they would take you out.

I remember

that when we screened Toronja´s shorts

we couldn't even get past the intro.

What were they shouting?

They shouted the brand of the DVD.

So we sat down with Marcelo.

"Well,

now we are going to screen some shorts”

and they didn't screen
them because they were bullies.

It was beautiful.

And then there was a party

and there was karaoke and it was fabulous.

And I made friends with a lot of people.

People liked what I did

and a big joke was created which is

when I made the short...

I made a short film in New Zealand myself.

That got awarded by Peter Jackson,

he gave it the first prize.

It's a great anecdote. And everyone was

like “So, are you Peter Jackson’s friend?”

It started as a joke

that I was Peter Jackson's friend.

Many there were Tolkien fans.

Everything that was happening was very strange.

I went to all the marathons

until it simply wasn't done anymore.

For the sole reason that, sooner or later, all projects come to an end.

Idiot!

Noooo!

Speech time!

Sirs!

I know all

and each of the difficulties

that we have been through

to get to this moment.

Getting to this moment

has not been easy.

Much blood has flowed under the bridge.

However...

We are here for a very, very special cause.

I think we like bizarre cinema

first because we come

as we said at the beginning, from a place

in which the bizarre is the rule

isn't it? it's a country where the bizarre

emerges all the time. Without us wanting it.

It happens. It just happens.

I think we like bizarre cinema

for the same reasons

that other people don't like it.

Sometimes maybe I check in IMDB

and depending on the rating

I decide if I watch the movie or not.

If it already has an eight, well, I don't know,

I'll see it around another time.

There are two stars.

It's crap,

I say: “uh, let’s see, I want to watch this.”

In the bizarre

there is a super positive anyism

that when it is held

and when it is consistent, is really cool.

You can take advantage to do

and say what you want

that will be justified

within the context

and you know that the public

is not going to be offended. Or if it is offended

well, that's their problem.

Reflecting reality

into something bizarre, that is, being able to say something

that bothers you

that you think is not right,

but put it there

to make it visible.

It's cathartic, I think that's why.

Because we all have

a lot of morbid things inside

and there are people who let them out,

and people who don't,

and there are people who let them out through

this, right? this type of cinema,

this kind of movies.

And maybe

the majority of viewers do not like it

and those of us who are already followers

and we are cultivators of the bizarre,

It fits us like a glove.

It is always underestimated.

What a horrible thing that you are doing

and how unprofessional you are.

This kind of bizarre cinema

does not generate money.

You waste money and a lot of time doing it.

it takes me from two to three years

to make a movie.

You have to go through a lot of stages

in your life, psychologically,

physically, monetarily.

You have to be

very determined to love that project.

Then something

happens where it is not a genre that

that gives secure profitability to anyone.

If there is something we need

is to exorcise our social demons

and be able to laugh a little at this

overwhelming reality.

The toughest the reality, the more motivated we feel.

Making bizarre cinema

is a form of resistance too,

and protest against all that

as if to say:

are you going to tell me that I can't film?

I'm going to film anyway.

No matter what you say.

So I think that

it will always continue to exist because

few people have access to a real budget

to make a movie here.

Not having money to

to make a super special effect,

etc., you make do with what you have.

And that's where creativity comes in.

Something will occur to us.

They are done in a Taliban way,

they are done because they have to be made.

These movies

we're going to do it for honor.

No, not for for...

there is no industry there.

There is something there with the vocation,

with passion, with desire

to do something despite...

I'm not saying it's easy to do.

and that is why they are made.

But I think there is an audience there,

that is waiting for them to be made.

The public loves these movies,

the screening ends

and the public approaches you

with one eye here and the other there,

they cannot understand what they have just seen.

you see their faces and they are like in shock.

Retributions... to the soul. The applause

of the people or the swearing of the people.

You are sons of bitches.

You made me waste two hours of my life.

We are interested in living an experience

that we didn't expect, let's say.

That's why the filmmakers who made

any bizarre movies,

we come back to it.

I was recently talking to Ale,

saying, how many of us,

production companies,
still remain through the years.

and we can count them with the fingers in our hands

they were like six or seven.

And all people between forty and fifty years old,

but we look younger

because we wear Bermuda shorts.

Strange things have happened to these guys.

(unintelligible words)

There has been

what is called natural selection

or decantation.

Many people

that vibrated at a low frequency

ended up moving away

and we really remain those who today

we can say that we are family, family.

I am available, that is, whenever they call me,

If I am lucky enough to be called up, so I go.

And if I have to work on catering,

and feed the entire technical team

and the actors... to me

It is a great pleasure.

I don't know about catering, two assorted packages of cookies

and a stew.

Never mind, let's do it.

Come on. What is it, July, seven in the morning?

Let's do it.

No problem.

We do it because we want to laugh our heads off,

because we want to have a good time.

The proposal is to go and have fun.

To embitter oneself with stories

there is life.

Because if I don't do it

I feel like my life has no meaning

and I think it's a little bit

what happens to us all,

we need to have office jobs in order to survive.

But then what we really want to do

are these movies.

Be happy, fulfill your dreams.

Thanks, but now I'm going to buy

wine for dad.

I feel that

Generationally something is going to happen

that is going to be cut,

But there will be a group of stubborn people

who will continue filming.

And now, agents, I'm going to condecorate you.

for your act of courage.

But hey, that's where the kids start to do things,

that would be great.

Series of fourteen seasons, ten chapters

each one, of something like “Plaga Zombie”.

Maybe. Why not?

Sometimes I think like, “Well,

younger people are not interested”

But then I see, for example,

the “Fin de semana sangriento” contest

that more and more people are signing up.

It seems that the opposite is happening,

there are more people wanting to do these things.

Yes, it seems to me that

it would make us very happy

if there are more movies.

It's always good to have new people,

people who are interested, collect people

from everywhere.

It's a passion.

You can't explain it. It's like football.

Passion, baby.

Argentina needs a goal.

Cuchu takes it, they can't take it away from him.

It could be, it could be...

He kicks...

Goal!

It is necessary,

so we have to keep doing it.

What you need is perseverance

and hard work to make a movie with little

money, and a good one at that.

That is true and it is not minor.

It's more about having courage than anything else.

Life is very boring

if the only thing you do is
work an do nothing else,

and let the days go by.

I think it's also a way

to realize that we are alive.

It's dying every time we make a movie

and say we're never going to do this again,

This is tremendous,

we're having a hard time

and finish it,

and start thinking about the next one.

But it's also a good excuse

to bring us all together.

The friends you make there,

are the real gem

of what these films leave behind.

You don't feel like you're on the screen,

you feel that it is all one.

You are watching a movie,

maybe in order to see that kind of movie

you had to make it yourself.

And nobody is on the screen,

nobody is down there.

It is a hybrid in the middle, which is

enjoying the cinema.

And that is priceless.

I mean it's like...

the most beautiful thing that can happen to you in life.

The huge ones

They are huge,

really.

The huge ones

They are huge,

really.

And what do I say?

For you maybe

This is a common and ordinary garment.

A simple studded vest.

But for those who don't know,

This is the vest that Cicho wore

in the acclaimed and multi-award-winning “Cichonga”,

independent film.

A t-shirt we made

for the premiere of Cichonga

in 2013, when we premiered it at the

“Buenos Aires Rojo Sangre” in Argentina.

We had shown it before

at the Valdivia Festival.

This is the camera that

“Chic Sensuale” photographer uses

in the film “Profondo Trosso”.

So look at it

taste it, love it.

This that I have here

It's the super helmet of the super mega suit.

From the movie “Nacido para morir”.

It was designed by Nico Stillman.

And then Simon Ratziel

made it with resin.

Well, this is Gomoso

My partner from Marisa and Gomoso.

This head is used by my partner

Nacho Joshas in the movie.

In some scenes

I used it because it is huge

and Nacho is almost two meters tall,

and in the car scenes

and such, I played both characters.

I played Gomoso and Marisa too.

Pablo made it complete during the pandemic,

who is the director.

This cross...

My character Milita Barió used it in the film

“El Cazador” by Georgina Zanardi

and Marcelo Leguiza.

I bought it, I bought it.

There are many things that I buy

at the Salvation Army.

Sometimes I go as an art director

to buy clothes

and suddenly I find an object

and I say wow!

This can be useful to me and on top of that

it's really cheap.

These are the hands of the

General Peron himself.

I got them clandestinely.

They were made by the great Enzo Giordano.

This was made for a movie

called

“Las almas del equinoccio”

which we launched in 2021 at “BARS”.

This little fetus was made by

Coti Pugliese and is part of Tr3sh

in the abortion clinic scene.

This is Carmen Vidal's hat,

when she enters a depressive phase.

This detective,

After the death of his best friend,

gets a job

at her neighborhood store,

which is Raul's warehouse.

So this is part

of Carmen Vidal's work uniform.

And well, it was made by

Art director Lucia Malandro,

It makes me laugh to name her for this,

because she made a very
good job as an art director

considering the noir style was achieved

for two pennies.

So this is not representative,

but that's what I had.

So you know,

Raul's warehouse.

It's not funny, but oh well. I don't even open it.

because it is not properly embalmed.

This belonged to an experiment

which was done

to generate, to create a soldier

and well, that's going to be in a

movie, with some files

that Tata Yofre gave to us.

At one point in 2002

I learned that Perrone had done

a movie with a photo camera.

And it's not the same, but I went looking for it

and what this camera marks

It's like the possibility

to record every day.

Because it was basically saying

Well, I can film longer,

I can spend less money

in production.

Simplifying audio capture.

It used to be a hustle.

So I brought this Sony.

Victor Maytland, pioneer of

Argentine porn, was also

pioneer of Argentine porn parodies.

In the year 1980... in the year 1989,

Can you edit that?

In the year 1989

he directed “Las tortugas mutantes pinjas”

which inaugurates a trilogy

of porn parodies, which in this case

are enthroned in this VHS

of that time edition that I found

in a batch I bought at a video store.

And it is a very, very rare thing.

and that you can enjoy today.

But I have it, so I don't know.

how much they are going to enjoy it.

Come to my house and see it.

This is the edition of “Buena onda”,

which is just enough

controversial, that it is called Good vibes

the editor of “Las guachas”.

“La casa de las siete tumbas”

“El caso Laura”

“La venganza del sexo” by Emilio Vieyra.

“El inquisidor de Lima”

“Furia infernal”

“Sangre de virgenes”

And well, this is

“Charly días de sangre”.

Here we have a special guest

Nenuco, in his second cinematographic participation.

Say hello Nenuco.

He appears in “Agarren la pala!”

He is a being from another planet

whose power is “tanguear” people,

That is, it makes your pants disappear.

and sticks the thong in your ass.

He is Nestor, he is the worm

with which hamburgers are made

from fast food.

You see, there is this urban legend,

about fast food...

Well, they are Nestor's slices.

He was part of the movie “Grasa”

and is performed by Enzo Giordano,

which is one of the great

FXs artists in Argentine bizarre cinema.

Here I present to you

this object from the movie “Malvineitor”.

Nothing, it's a joke

that people celebrated it a lot.

The fact that in

The Second Malvinas War

the soldiers

from the homeland they were drugged with dry cum.

This painting actually

I painted more than ten years ago,

But well, it appears in “El onanista

perturbado” in one scene.

I was in a square with a friend

and my friend

thought that the Virgin of Luján

was the Virgin of Lemon.

So I invented a Virgin of Lemon

which is like the patron saint of misfits.

I think something iconic about my films

It's the dicks in general

and this one in particular

It's the first one we used

professionally,

which was in “Goreinvasion”.

Blood and penises were used

everywhere and it was established

as a Gorevision brand

that several have copied us,

of course.