Rey muerto

Rey Muerto is a 12-minute fictional live-action short film written and directed by Argentine filmmaker Lucrecia Martel and released 19 May 1995. It was included in Historias breves I ("Short Stories I"), the first edition of the INCAA competition, which was fundamental to the rise and recognition of the generation of Argentine filmmakers known variously as Cine Independiente Argentino or Nuevo Cine Argentino ("new" or "independent" Argentine film).[1]

Rey muerto
SpanishRey Muerto
Directed byLucrecia Martel
Screenplay byLucrecia Martel
CinematographyEsteban Sapir
Music byLaura Ruggiero
Release date
19 May 1995
Running time
12 minutes
LanguageSpanish

This film and other winners of a 1994 Argentine National Institute of Cinema and Audiovisual Arts short film contest were brought together to form the feature-length Historias breves, released 19 May 1995.

Synopsis

The story takes place in the fictional village of Rey Muerto ("Dead King") in northeastern Argentina. A woman tries to escape a husband who has been treating her badly, bringing her three children with her.

Cast
  • Roly Serrano
  • Sandra Ceballos
  • Marcelo Machuca
  • Carlos Aldana
  • Lía Crucet

Technical team
  • Cinematography: Esteban Sapir
  • Wardrobe: Alejandra Crespo
  • Montage: Fernanda Rossi
  • Music: Laura Ruggiero
  • Sound: Horacio Almada
  • Production assistant: Alejandro Arroz
  • Set design: Alejandra Crespo
  • Scenography: Alejandra Crespo
  • Wardrobe design: Alejandra Crespo

Reviews

Reviewers of Historias breves wrote:

Alejandro Ricagno in El Amante del Cine writew:

The technical aspects are, for the most part, impeccable and in service to the stories. Which is to say: they are not distracting excesses and do not undermine the structure. One might enjoy one [film] more than another…but you leave the theater…having seen a cinematic program composed of attractive short stories with diverse atmospheres and goals.[2]

Claudio España in La Nación gices the opinion that:

The work of these young people does not seek visual artifice, and its filmic language is based on the immediate image, simple and far from excesses.[3]

Rafael Granado in Clarín said:

very good…rare quality in all aspects…creativity in a small format.»[4]

Manrupe and Portela add:

«…of surprising quality. One of the few innovative premieres (aesthetically and conceptually). some (Ojos de fuego; Dónde y cómo…, Rey muerto) stand out, but the general level is excellent. Much more than formal exercises.»[5]

Notes
  1. INCAA. "Rey Muerto". Archived from the original on 10 March 2012. Retrieved 28 September 2012.
  2. «Los rubros técnicos son, en su mayoría, impecables y están en función de la narración. Quiero decir: no son prolijitos para distraer o llevar huecos de estructura. Uno puede gustar más de alguno que de otro…pero se sale del cine…como quien ha visto un programa de cine compuesto por atractivas historias cortas con climas y búsquedas diversas.» Manrupe & Portela 2001, pp. 280–281
  3. «El trabajo de estos jóvenes no procura el artificio visual y su lenguaje fílmico se asienta en la imagen inmediata, sencilla y alejada de rebuscamientos.» Manrupe & Portela 2001, pp. 280–281
  4. «Muy buena...infrecuente calidad en todos los rubros...la creatividad en formato chico.»
  5. «…de sorprendente calidad. Uno de los pocos estrenos innovadores (en lo estético y lo conceptual). Algunos (Ojos de fuego; Dónde y cómo…, Rey muerto) se destacan, pero el nivel general es excelente. Mucho más que ejercicios formales» Manrupe & Portela 2001, pp. 280–281

References
  • Manrupe, Raúl; Portela, María Alejandra (2001). Un diccionario de films argentinos (1930-1995). Buenos Aires, Editorial Corregidor. pp. 280–281 y 741. ISBN 950-05-0896-6.
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