BORRA TODO LO CHE DIJA DEL AMOR PORQUE NO SABIA BIEN QUIEN ERA

by Guillermina Pico
ERASE EVERYTHING I SAID ABOUT LOVE - DIMENTICATI DI TUTTO QUELLO CHE HO DETTO SULL'AMORE

Informations

Nation: Argentina

Year: 2016

Length: 62'

34° TORINO FILM FESTIVAL

Section:

Synopsis

A flow of images of what surrounds us. Moments of beauty, often serendipitous, sometimes mundane, captured by the video camera and suspended in time. Elements of nature, human relations, the feelings they spark. All that we are. [mp]

Director

Guillermina Pico

Guillermina  Pico

Guillermina Pico (Santa Rosa, Argentina, 1985) studied movie directing at the La Metro School of Communication in Cordoba and later furthered her studies in digital video in Barcelona, at Idec-Pompeu Fabra, and at The Observatory, a school for documentary filmmaking. She has also attended the film laboratory of the Universidad Torcuato in Tella and the Robert Flaherty Film Seminar in New York. Between 2011 and 2014, she collaborated on the programming of the Festival Mar del Plata and presently works as a freelance editor and postproduction coordinator for Television Digital Abierta. She directed various short films, which have screened and been awarded prizes at festivals throughout the world, before debuting in feature films with Borra todo lo que dije del amor porque no sabía bien quién era.

Filmography:
Un poc de orden en mi vidita (cm, 2009), Yo, Natalia (cm, 2009), Un montón de pins (cm, 2011), El pasito de onda (cm, 2013), Borra todo lo que dije del amor porque no sabía bien quién era (doc., 2016).

Cast and Credits

regia, soggetto, montaggio, produttore/director, story, film editing, producer
Guillermina Pico
suono/sound
Catarina Apolonio 



Guillermina Pico
minapico@gmail.com

Director statement

“Borra todo lo que dije del amor porque no sabía bien quién era is a thread of fragments of something real, parts that do not belong to a whole that should come; but that are linked by a more subtle connection. It can be seen, if you will, as a kind of inventory, a set of dynamic relationships between recurrent images […]. These words by Jonas Mekas summarizes the core of this work: ‘What matter what the film is about, its subject, its argument? It is about love, sun, trees, beautiful women, the summer, a picnic on the grass. What is an argument in art or in life?’”

Synopsis Learn more

A flow of images of what surrounds us. Moments of beauty, often serendipitous, sometimes mundane, captured by the video camera and suspended in time. Elements of nature, human relations, the feelings they spark. All that we are. [mp]

Director All about direction

Guillermina Pico

Guillermina  Pico

Guillermina Pico (Santa Rosa, Argentina, 1985) studied movie directing at the La Metro School of Communication in Cordoba and later furthered her studies in digital video in Barcelona, at Idec-Pompeu Fabra, and at The Observatory, a school for documentary filmmaking. She has also attended the film laboratory of the Universidad Torcuato in Tella and the Robert Flaherty Film Seminar in New York. Between 2011 and 2014, she collaborated on the programming of the Festival Mar del Plata and presently works as a freelance editor and postproduction coordinator for Television Digital Abierta. She directed various short films, which have screened and been awarded prizes at festivals throughout the world, before debuting in feature films with Borra todo lo que dije del amor porque no sabía bien quién era.

Filmography:
Un poc de orden en mi vidita (cm, 2009), Yo, Natalia (cm, 2009), Un montón de pins (cm, 2011), El pasito de onda (cm, 2013), Borra todo lo que dije del amor porque no sabía bien quién era (doc., 2016).

Cast and Credits Discover the cast of the film

regia, soggetto, montaggio, produttore/director, story, film editing, producer
Guillermina Pico
suono/sound
Catarina Apolonio 



Guillermina Pico
minapico@gmail.com

Director statement Read more

“Borra todo lo que dije del amor porque no sabía bien quién era is a thread of fragments of something real, parts that do not belong to a whole that should come; but that are linked by a more subtle connection. It can be seen, if you will, as a kind of inventory, a set of dynamic relationships between recurrent images […]. These words by Jonas Mekas summarizes the core of this work: ‘What matter what the film is about, its subject, its argument? It is about love, sun, trees, beautiful women, the summer, a picnic on the grass. What is an argument in art or in life?’”