YARARA

By Sebastián SARQUÍS

FUARA - FUNDACIÓN ARGENTINA AUDIOVISUAL - as PROD

Second film - Completed 2014

A film director looks for locations for his new film. While doing so, he embarks on a trip to the northwest of Santa Fe province. It is here that forty years before his father made his debut as director and where he’s planning to shoot his next film.

Festivals
& Awards

Ventana Sur 2014
Latam
Guadalajara FICG 2015
Ficcion Iberoamericana
    • Year of production
    • 2014
    • Genres
    • Second film, Drama
    • Countries
    • ARGENTINA
    • Languages
    • SPANISH
    • Duration
    • 96 mn
    • Director(s)
    • Sebastián SARQUÍS
    • Writer(s)
    • Sebastián SARQUÍS
    • Producer(s)
    • Estela FERNÁNDEZ, Gabriel ARREGUI, Sebastián SARQUÍS (Fuara)
    • Synopsis
    • A film director scouts locations for his new film. While doing so, he embarks on a trip to the northwest of Santa Fe province. It is here that forty years before his father made his debut as director and where he’s planning to shoot his next film.
      The story of this journey, and the mis-en-scene of his new film, merge together and intertwine, building the plot.
      Everything begins as a consequence of an unexpected visit, when he finds the same woman who played the protagonist in his father’s film at age of 17. This local woman, Juana Martinez, who had performed for her first time, is now 57. She’s a widow and has eight children. He finds another “character”, ‘Moncho’ Berón, who played her father. He was 37 at that time, and now he’s 79.
      Gathered in the town’s public library, Juana Martinez, her children and grandchildren, Berón and his descendants, neighbors and friends, together with the director and the crew watch some scenes of the film his father shot 40 years ago.
      The narrative thread which feeds the plot refers to the conflict among four characters who live in the same place: Juana, the mother, Montenegro, the son, Abdala Farías, the stepfather, and Lucio, a vendor found by Farías in one of his journeys, whom he adopted as his own child.
      Montenegro detests his mother’s relationship with this older man, and one day incensed with jealousy he beats him brutally. His own mother reports him to the police and he ends up in jail. Later on, when he gets out of prision, he looks for Abdala Farías with the intention of killing him. Instead, he fights a duel to the death with Lucio who wielded a lethal yarará to face him.
      The chronicle of the initial search, and the narration of the subsequent unexpected revelations leads to an end where fiction blends with reality and its unsure and fleeting excitement.
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