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After his bike and money gets stolen from him, Lucio struggles to find his place in the surrounding reality of Argentina in the 1990s A slowly told story of adolescence of an outcast and a tribute to the neorealistic classics of the 1950s.The New Argentine Cinema that flourished in the 1990s, and whose transformational effects still resonate today, found its first true expression in the films of Martin Rejtman (b. A graduate of New York University’s influential film program, Rejtman anticipated the wave of film school-trained directors who would play such an important role in the reinvention of Argentine cinema.“Two Shots Fired” not only questions dogs loyalty but distances itself from trad fiction in the unpredictability of its consequence, inscrutability of characters, lack of character arcs and ambiguity of events, moving much closer to what is really reality…. For me, filming is a way of equaling all the facets of direction.I’m interested in the film functioning like a “narration machine,” where situations flow from one another with a perhaps unconventional cause-effect; but where humor works anchors spectators You mostly use fixed camera-shots. Nobody would call “Two Gun Shots” a social comedy but it does build a vision of a modern world of substitute families, problematic relationships – almost everybody’s an ex – and a penny-pinched middle-class without money to pay cell-phones, let alone a vacation….The popular and critical success of his subsequent films – the droll and wonderfully deadpan comedies with their wry and affectionately subtle satires of not quite young and not quite professional urbanites.
Backed by blue-chip Latin America and European producers – Argentina’s Ruda Cine, Chile’s Jirafa Films, Germany’s Pandora Film, the Netherland’s Waterland Film and Fortuna Films – “Two Shots Fired” will segue from its world premiere at Locarno to Toronto, where this singular, absurdist study of consequence, which will be see theatrical distribution in Argentina, Chile and Netherlands, screens in World Contemporary Cinema. I’m not interested in underscoring via music, actors’ performance, or camera movement and angles.Yes, in almost all my films subvert the idea of the family.In “Two Shots Fired,” there a groups and sub-groups which in some way replace traditional families. As for the socio-economic details, I think they’re pretty precise.Though I obviously didn’t have the slightest intention of creating a social portrait.Compared to 2003 Locarno screener “The Magic Gloves,” your last big-screen movie, have distribution possibilities, for better or for worse, changed for your films?