Suco de sábado
Argentina, 1987, 8 min, colour, Spanish
¡Que vivan los Crotos!
Argentina, 1990, 75 min, colour, Spanish
Mothers and children, interviewers and interviewees. In Suco de sábado it's the weekend in the city of Buenos Aires. A blessed house is one in which everybody wants to have a good time and there's no lack of friends to look after the little ones. A mother and a son go out, each to spend the night how they want: she goes dancing with a man, while he goes to steal porn magazines with his friends. An intimacy is created above all from the moments they spend apart, until it's time for bed again to close it up for another day. In ¡Que vivan los Crotos! intimacy is documented in the form of words instead. Bepo Ghezzi was a linyera, a nomadic man who travelled the country like hundreds of others on the national railways, when part of the working class was anarchist, before peronism. Also before lorries, the recent dictatorships and the total industrialisation of the world of work. Grown up, Ghezzi is in his hometown. There too are his lifelong friends and other men he has come across along the way. Sometimes interviewed, sometimes performing, altogether they recreate a part in which they lived history and were anonymous men who went through the fields filling their bags. Intimacy is also shown in set-piece scenes, in a willing performance, in small allusions to being engaged in making a film together and so preserving not only the memory of a shared way of life, but also the language that went with it: the linye argot, with their bagayera (the bag they carried on their shoulders), against their Juan Figura (the police), having a tártago (mate), cooking in a bandolión (a large tin pot).