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Filmmaker Spotlight: Interview with Agostina Guala

Updated: Jul 13

Tell us a bit about yourself. Where are you from? How did you get into filmmaking?


I come from a small town in Patagonia. When I finished high school, I moved to Buenos Aires to study architecture because I wasn't brave enough to go to film school. I thought It was just for a privileged group of people and I didn’t imagine that I could become my profession. But after six months in architecture, I decided to change course to something I really wanted to do and began studying to be a film director.

At that time, my brother had also signed up to a film course (in fact he's a very good editor and cut most of my short films). I don't really know how my love for film started. I guess, it was just watching films, lots of them, since I was a child. First Hollywood movies and then all the European film’s I could find in my video club. I remember I rented The idiots when I was 15 and being very intrigued. So after this I just wanted to see more of this style of filmmaking.


Why did you make your film?

This one in particular came from a short story by a writer that I really like. Her name is Alejandra Zina. Rita Cine producers Laura Tablón and Maríapaula Rithner, had the film rights so we decided to adapt it to a short film.

What was your favorite part about making the film?

My favorite part was to be able to work with these amazing female actors. They are huge talent's from Argentina and Uruguay. I really enjoyed the experience of shooting with them.


Most challenging?

Well we had a very small budget but we wanted everyone to get some symbolic payment at least. So to make it work we had to shoot the main story in the apartment in one long day .The day after we went to the hospital for the last shot as we had permission to shoot there for 2 hours. Fundamentally it was against the clock, as with all my short films!

What did you learn while making it?

This will sound vey basic but I learned the importance of having a directors monitor as often for budgetary reasons I've shot without one and found I missed details. I also learned how useful it is to have the editor on set to help decide what is essential for the cut in order not to waste time with unnecessary set ups.


What do you hope the audience takes away from the film?

When I read the original short story, I was moved by the depth of the woman's relationships, these intimate conversations and the game used to avoid the painful absence of the missing friend.

My hope is that audiences can relate to this group of women, the friendship, their fears, their dreams and the aging process we all go through.


What are you working on next?

I am in early pre-production on my first feature “Paragliding” with Rita Cine Producing, a script I've written set in a remote Patagonia village in the dead of Winter.

Currently I am shooting a documentary Project for a German production Company as part of a group of directors about this pandemic we are going through.

Where can we follow your work?

I have a vimeo with all my short films. Only the last one “It wasn't the sea” about Syrian refugees is not public yet because we are still trying to send it to festivals. But I can always share the password if someone is interested in watch ing it.

Anything else you’d like to add?

Just to say thanks for this great opportunity to show my work on your platform and be part of Female Voices Rock.

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