
Mil gracias a todos por pelearos con la fuenta completa y a Vespertilium por compartirla ahora recodificada.
Saluditos.
Not pickytrep escribió:It's true that the quality is that of a noisy tv-rip and nothing can be done about that, but Vespertilum, I think you used a resolution far far too big, and so the picture is often terribly blocky. Also, I think there's the need of a deinterlace filter(and cropping out the borders, but this is a minor issue
). Sorry for being picky, but encoding is a messy business...
En construcción is a film that, for reasons that will become clear over the course of the interview, stands aside in Guerín's body of work: as his first documentary - inclusively, his first government-funded film -, his first occasion working with universsity students as opposed to professional technicians, and finally, his first film to take place in the city of Barcelona, where he was was born and has lived most his life. It's easy to mistake parts of the film as fiction; Guerín does not use showy cinema techniques to tell the story. However, there is a clear-cut structure which becomes apparent once the initial scenes - which take place at the discovery of a Roman cemetery - have advanced into the crux of the film. Officially, En construcción takes place during an 18-month period surrounding the construction of a new apartment building in a neighborhood Guerín refers to as a "nook."
This neighborhood, known as "El Xino" (or roughly, Chinatown), stands opposite Barcelona's gothic quarter and houses many immigrants, factory workers, and also prostitutes and drug dealers (though the film gets away with eliding the fact that this is also the city's most dangerous neighborhood). As the construction of the new building starts, workers find the Roman burial site and begin excavate bodies, much to the diversion and fascination of the neighbors and passers-by. In these intrinsic moments, the camera settles on a variety of characters who become the film's nuclear family: two pot-smoking teens who squat a local building until they are forced to move out; a philosophical Moroccan and an elderly Spanish man who get into several debates at lunchtime; a junk-collector who carries goods on his back; a brood of 10-year olds who build fortresses out of raw construction materials to the bemusement of the laborers; a neighborhood girl who meets a construction worker draping clothes on her balcony. The rest of the film is not easy to describe. Eventually, the new tenants start to move in to the building and change the shape of the neighborhood.