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where to see it and since when – Diario Río Negro

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where to see it and since when – Diario Río Negro

With the ambition of adding an unexplored fold to the books and films that have been dedicated to him since his death – which will be 70 years old on July 13 – he will arrive in Argentina on March 15 through the platform Amazon Prime the documentary “Frida”, a work by director Carla Gutiérrez that portrays the Mexican painter Frida Kahlo through her relationship with persistent pain throughout her life and describes her as “a woman who does not want to contain her voice”.

In the film, which had an enthusiastic reception when it premiered at the Sundance Film Festival in January, Gutiérrez recovers the voice of Frida Kahlo, relying on the appreciations recorded in her diaries and notebooks to return to the painter from that pain and heartbreak that They turned it into a myth and at the same time a fetish. Her rebellious style was characterized in films, books and documentaries, while her aesthetics promoted inexhaustible merchandising ranging from mugs to T-shirts, paintings and flower pots, among other objects.

Pain is precisely one of the guiding threads of the documentary. The surrealist painter was marked by the accident she suffered in 1925, when a bus in which she was traveling collided with a tram, causing an impact on her body that almost killed her. She lived in pain for the rest of her life. Her injuries, a recurring theme in her work, take on a unique dimension in the documentary filmmaker’s work.

«A couple of years ago I started thinking about his story again and started seeing the material that existed of his own voice. And I discovered that she could tell most of her story,” Gutiérrez highlighted in recent statements to the AFP news agency. Her documentary follows a chronological order, from the artist’s childhood in her native neighborhood of Coyoacán, in Mexico City, with a photographer father and a conservative mother, followed by her rebellious adolescence when as a young woman she dressed as a boy. .

Shortly after, she had a traffic accident that left her with serious fractures throughout her body and exposed her to months of medical experiments and a life marked by pain and the use of corsets.

A couple of years ago I started thinking about her story again and started looking at the material that existed from her own voice. And I discovered that she could tell most of her story.”

Carla Gutiérrez, director of “Frida”

The film also addresses his meeting with Diego Rivera, the popular muralist painter who became his fascination and torment, going through his political positions, loves and frustrations. The film includes a section about the couple’s trip to Detroit for a mural commission: “Unfortunately, Diego has to work for these rich idiots,” the artist says in an excerpt from the film.

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During that trip, Kahlo became pregnant and, although she decided not to have an abortion – something that would have been illegal in the United States – she lost the pregnancy in July 1932 at Henry Ford Hospital. At that moment she portrayed herself bleeding in bed, with an ashen-skinned baby sitting next to her.

Returning to New York, after being commissioned to paint murals for Rockefeller Center, Rivera was fired for insisting on depicting Vladimir Lenin in one of them. In this passage, Kahlo calls his hosts “uppity gringos,” “sons of bitches,” and “sons of bitches.”

Upon returning to Mexico, Kahlo unabashedly declares herself bisexual and sexually positive, declaring that “it is good to have sexual relations even if it is not for love.” In 1937 she painted her lover, the Russian politician and revolutionary Leon Trotsky. The film ignores her murder, for which she was arrested and later released. Other lovers supposedly included Paulette Goddard, wife of Charlie Chaplin. And she tells how after Rivera seduced Cristina, Kahlo’s sister, the couple divorced in 1939 and remarried a year later, agreeing to a sexless bond.

For the director, the main theme of the film is “a woman who does not want to contain her voice.”

“I knew that (Frida) had a sense of humor, but what I didn’t know were the words she used to express that sarcasm she had.”

Carla Gutierrez.

“We wanted to make that connection between his art and his life experience” and “inject into the film the texture of his voice, the texture of those feelings,” Gutiérrez highlighted.

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Although she was already familiar with Frida’s work, the director was pleasantly surprised by her sarcasm in this new professional reading, as well as by her fragility: “I knew she had a sense of humor, but what she didn’t know were the words she used to express that sarcasm that he had.

This is how his vulnerability reappears, also in the first person, and the fact that “he didn’t have answers for everything,” he added. “He was a super complex person, with many fears, sometimes difficult: a very, very strong personality,” he added.

The documentary can be seen on Amazon Prime Video from March 15, when it lands on the streaming platform, after its recent premiere at the Sundance Festival.

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