Fuck You! El último show

CountryArgentina Year2024 Duration81 min. Projection formatDCP LanguageSpanish / English DirectionJose Luis García FestivalsBAFICI Buenos Aires Festival Internacional de Cine Independiente, 27, Película de Clausura. Doc Bs. As., Retrospectiva. FICPBA Festival Internacional de Cine de la Provincia de Buenos Aires, Función especial. FAB Festival Audiovisual Bariloche, Festival del cinema Latinoamericano Trieste Italia, FAN Festival Audiovisual Neuquén, Festival Internacional Piriapolis de Película Uruguay, FIC.UBA Festival Internacional de Cine de la Universidad de Buenos Aires, Festival de Cine Independiente de Cipolletti, Cine en Grande Tierra del Fuego, In Edit Chile, Festival Escenario Cine + Música Buenos Aires, Fesaalp Festival de cine Latinoamericano de La Plata.

Spanish premiere

 

Sumo, one of the top bands in Argentinian rock, as they prepare for and play a historic concert: presenting their final album at the legendary Obras arena, recorded a couple of months before the death of their frontman, Luca Prodan.

“A document”, according to the modest credit that opens the film. In actual fact, a film that structures the precise gesture by Rodrigo Espina when filming the legendary release concert for After Chabon by Sumo, at the Obras Stadium on 10 October 1987. It was Luca Prodán, the charismatic leader of the band, who asked his friend to record it because he didn’t think he would survive to the end of the year. And he was right. The images taken by Rodrigo —as well as the editing by José Luis García, who has arranged the material almost 40 years later— superbly convey the friend’s anguished request. Rodrigo’s camera sticks close to Luca’s skin and the wake he leaves behind, often at the cost of seeing or hearing him, of losing his feet. Jean-Pierre Beauviala said that video cameras with a built-in microphone were the perfect tool for “lazy ethnographers” who were unfazed by films “with no declared commitment, with no declared misframing”. The misframing in this film is not only found in its images but also in its sound. A musical documentary? Yes, only that the camera frames neither the music nor the concert, and what we discover is not so much what happens on the stage but rather in the surroundings thereof; in the dressing room, in the corridors outside the dressing room, in the neighbouring bars. A rejection of all prefabricated forms and a commitment to a pure and tough way of life to the end. As if the real show were in the preliminaries and not so much the concert itself, in the energy needed to get up on stage and not so much in what happens afterwards, in the daily life of someone who already knew themselves to be shadow, image.

Manuel Asín

Promoted by
Gobierno de Navarra
Organized by
NICDO
With the aid of
Con la financiación del Gobierno de España. Instituto de la Cinematografía y las Artes Audiovisuales Acción Cultural Española Plan de Recuperación, Transformación y Resiliencia Financiado por la Unión Europea. NexGenerationEU
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