The biographer of Picasso Roland Penrose maintained anything of what is said of the painter who revolutionized everything can boast of accuracy.
And the maximum, by imprecise, extravagant and totally imperfect, would be equal for Gonzalo García Pelayo (Madrid, 1947).
The film director who was a music producer, radio announcer, tahúr, professional poker and roulette player (the film Los Pelayos, from Eduard Cortés, counted everything about his relationship with casinos), Taurino convinced, cultural activist, discoverer for
Always from the Triana Group and until today’s negotiator of cryptomones (“that are those who pay this project”);
García Pelayo, we said, it does not admit more definition than the very intimate excessive one of it.
And indefinition.
He is accurate, like the cubist of Málaga, in his inaccuracy.
Well, from now on it is also the only filmmaker in the history of the universe to complete in a year seven films that will actually be eight (since one of them unfolds in two) or, even, double if we count the ‘ Making of ‘from each one directed by Carlos Escribano; or, already put, two more (and we arrive at 18) if the list is added to the list that will be the full story of this entire year of frenzy and an alien authoring documentary (César Martínez is the director) about the own annoying figure of García Pelayo in all its extension and throughout his life. And one more: next Friday, “nine Sevillas’, the antepenultimate of him rolled films in the company of Pedro G. Romero. Everything exact in its inaccuracy. At the ongoing Seville Festival, the first two (‘stop forbidding that I can not disobey so much’ and ‘Ainur’) of the four that are already rolled in a process that is still underway. A year, almost 20 films and a thousand ways of being García Pelayo.
“I prefer the quantity to quality,” says filmmaker as a presentation and, of course, of provocation.
“In a democratic society,” it is explained, “imports the amount: the amount of votes, the number of opinions, the number of ways of life … The greatest art masters were mostly prolific. From Bach to John Ford.
, Beginning, of course, Picasso, all created in an enormously convinced way about all of the process of creation. ”
And, in effect, it’s hard to take the opposite.
What is seen so far leaves little space for doubt.
There is only enthusiasm.
The author of founding stones of the vital cinema (that not only ‘underground’) of the Spanish transition between 1976 and 1983 reissues the pulse of his magical Pasional and Libertarian Pentalogy formed by ‘Manuela’, ‘Living in Seville’, ‘Front sea
‘,’ Cumshots of joy ‘and’ Rocío and José ‘.
The idea, now as then, is rebelling against the impertinence of the old one to demand the value of the free, of the free, of the transgressor and, simply, of the living.
“It’s a challenge, but it is also an answer against all the impositions in which right now it seems that we live, if we tell us that we stay at home, our obligation is to travel,” he says.
‘Stop prohibiting that I do not disobey so much’ is from the same title exactly that: an invitation to, again, build the exact definitions.
From the Pelicano de Seville square and with the figure of Pepe Ortega as a medium, the film reviews the new voices and forms of a unique and miraculous space.
For vivo
The Jerez Canijo, Caliphate 3/4, José Guapachá, Sebastián Orellana, Myriam Béjar, Chocolata, Dulce Mandi, Perpetuo Fernández or Marta Santamaría recover the unpighted momentum until Friday, 19 of this month of ‘nine sevillas’ (2020) for
Offer the viewer cleanly (or very dirty) the value of imperfection.
“My cinema,” says the director, “it’s imperfect.”
And from there, from each of his mistakes, García Pelayo raises a deeply humanistic and sacred flamenco and life monument.
‘Ainur’ is something else. It is by definition almost the other. It is different from absolutely everything. Rolled in Nur-Sultan, the before city Kazaja de Astana serves as stage to tell a story of “Love, modern architecture, echoes and bicycles”. A man who lost the beloved of him in an accident seeks in the most impossible of the new places of the new world the reverberation of the ancient passion of him. The director tells that he knew the newly raised city in the middle of his impossibility of ice and sunken temperatures at zero because of a business trip to the cryptomones. And there he fell in love. Of everything and all. “The city itself is a metaphor of resistance, effort to overcome evidence of extreme conditions,” says García Pelayo. The result recalls Rossellini with the same clarity as resvenais in the sensation of loss by a mythical geography halfway between Stromboli and Hiroshima; Between despair and love. “I have replaced all the values that I had before because my only value is you” was heard in ‘Living in Seville’ (1978) and, with decades away, he heard again at Nur-Sultan.
‘This was rolled’ broken flesh ” is the title of the next production of the seven that will be almost 20. It is a movie where you tell how another alleged sex film, a lot of sex and more sex.
Cinema that devours cinema in a project that is nothing more than cinephagia.
It is a ribbon that runs a good part of Spain and Portugal and wants to hurry up erotic.
This is the production that has lived a split in a species of dark mirror that serves the name of ‘Broken Alma’, where on the same journey that the previous film the life of a nun appealed now to a mysticism without a macula.
The two are already rolled.
Add four.
The Quinta travels to Argentina to tell the life of Isabel Sarli, the muse of the hidden (and even sacred) films of Armando Bó.
It is a ‘biopic’ that is also your opposite.
It is the memory of an erotic myth of the 60 that is proposed as a revolution as of today.
This will be until the end of the year.
In January, García Pelayo team will go to India that will be traveled from north to south, from the Golden Temple of Amritsar to the point-cut limit of the Indian Ocean.
“Nothing is comparable to touring that country,” says the director.
And they are six.
For the seventh, back to Spain, inspiration is the niece of the director who a good day let his uncle know that in Jerez there is so much flamenco and Seville, but “many more horses”.
‘Seven Jereles’ is the answer about the scene Jerez a ‘nine sevillas’.
It will be in February.
There is the last one in April of the book of Luisa Grajalva ‘the other side of reality’.
“Maybe in March I encourage me and travel to Cuba to complete what would be the ninth: mom I want to know ‘”, he says, takes a second and corrects: “Although maybe small of superb. The original project was always seven. I like it
The possibilities of the prime numbers “.
Be that as it may, on each of the films, Carlos Escribano writes a new cinematographic text that is a reflection of the original film.
The tradition has come to call him ‘Making of’, but in the ideology of García Pelayo everything grows.
It is truly film about film that reads the deep sense of cinema always underway.
“The whole project as all my filmography drinks from the certainty of penetrating joy in the most sexual sense of the term, to fuck literally to joy,” he says.
And he insists: “Making a movie every three years seems to me a ‘pringera’, by very masterpiece it is.”
Be that as it may, nobody reads a will in all this work.
And much less a farewell.
“I plan to continue active 50 years more, no more”.
Excessive, inaccurate, comprehensive, Picassian, García Pelayo.
