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THE AUNTS

LAS TÍAS

By Valentina LLORENS

MARAVILLACINE - as PROD

Documentary - Production 2024


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SANFIC 2023
Sanfic Documentary Lab
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    • Year of production
    • 2024
    • Genres
    • Documentary, Female director, Second film
    • Countries
    • ARGENTINA
    • Languages
    • SPANISH-ARGENTINE
    • Director(s)
    • Valentina LLORENS
    • Writer(s)
    • Leonel D'AGOSTINO, Valentina LLORENS
    • Producer(s)
    • Leandro LISTORTI (MaravillaCine), Paula ZYNGIERMAN (MaravillaCine), Valentina LLORENS
    • Synopsis
    • Sara, Paulina and Fanny were three fervently Catholic and well-to-do sisters, daughters of immigrants from the Catalan bourgeoisie. None of them married and they always lived together. They were also curious travelers. In 1924, in Spain, they bought a 16mm camera and filmed their lives until 1936: weddings, Sunday gatherings at the farm, their ranch and the farmers, workers in the port of Africa, the Spanish countryside just before the civil war, Córdoba, Mar de Plata, native villages in Santiago del Estero and the celebration of the first Argentine coup d'état, among others. Each fragment of the archive, which is almost one hundred years old, is a jewel, a rarely seen record of the era.
      The three Palau aunts were also my great aunts. They left us these images and many letters. They defended ideas that I do not share. In the tapes I find myself with their intimacy, with their desires, with the place they occupied as women in a society led by men. Even though they belonged to the elite, they sometimes observed it from the outside, with a very particular sensibility.
      With the crisis of the 1930's and later, with Perón's agrarian policies, they lost a large part of their fortune. They died austerely in an apartment in the city of Buenos Aires. In the family rumors there appears a shadow barely spoken, the possibility that his father, whom I named as grandfather Manuel, may have been responsible, in part, for their economic debacle. Socialism and communism appear as phantasmagoric images in the family history and Manuel, as the wayward where the ghost came to life.
      The voices of the aunts that echo in the letters, their bodies that flee to the camera but manage to be captured, the parties, the landscapes, the contradictory voices, make up the broad panorama of the family's history and also, that of a model of a country, full of fissures and folds, exclusive and exclusive, and at the same time, revive the brightness of a splendor lost forever.
      This documentary seeks to recover the lives of three women who looked at a world of which there are almost no traces left. Each scene tries to review that box of old jewels and find the shadows that marked my family history in dialogue with the history of my country.
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