Supported by current chronicles, the black comedy ‘Lunático’ seeks sociopolitical satire

Daniel Hendler, one of the many characters in “Lunatics” / Photo: Florencia Downes.

black comedy “Lunatics”with a choral cast made up of daniel hendler Y Veronica Llinasamong others, and which narrates the experiences of various characters who inhabit the cities of Buenos Aires, Mexico and Montevideo, who intertwine their stories and link the follies of the globalized world, opens in theaters on Thursday.

Written and directed by Martin Salinasthe Argentine co-production with Mexico and Uruguay completes its cast with Luis Ziembrowski, Rafael Spregelburd, Gerardo Chendo, Julián Kartun, Marina Bellatti, Marcelo Subiotto, Francisco Lumerman, Pablo Pinto, Alfonso Dosal, Cassandra Ciangherotti, Julieta Egurrola, Claudio Martínez Bel, Pablo Solarz, Black Rodríguez Méndez and Claudio Garófalo.

Starting with some angry tweets from a US president who emulates Donald Trump without much subtlety, the film opens with the United States suspending trade with China and unleashing global financial consequences that particularly affect the Latin American protagonists of the film.

“The movie’s motto ‘to laugh when you should cry’ is a key” Salinas said in a first attempt to define the film, in an interview with Télam in which Hendler also participated.

Salinas added: “In humor, one laughs many times at those things that anguish him. There is something in the reality of the world and the planet at this time that anguishes us all very much because we do not know where all this is going to end. “

The director said that he sought that, from his film, “there is a comic relief of an overwhelming reality and that relief seems very healthy. It is better to laugh than to cry; humor requires things that produce an explosion of laughter in the face of something That could be dangerous.”

“The notion that one can turn that into humor and take it to a comedy zone with a plus is sought, without it being a ridiculous farce, but rather that it seems real and a little more,” he added.

Hendler, meanwhile, defined the project as “an ensemble film that is guided by the psychosis of some characters, which are collateral effects of this highly controlled society, with people who are left out of the system and who run or do not have the balance and the ability to be a part.

“It is approached from the sinister, from a dystopian perspective and, at the same time, humanized. Because these guys are humanized so that we understand that, within this madness, there is someone who jumps the thermal on that side,” reflected the Uruguayan actor.

“In humor, one laughs many times at those things that anguish him. There is something in the reality of the world and the planet at this time that anguishes us all very much because we do not know where all this is going to end”Martin Salinas

How did you come up with the project and what interested you in the script to participate?
Daniel Hendler: I liked that Martín Salinas was behind it, who is someone I knew as a script tutor when I was writing the first film I directed. And when he told me that he had a project and cast that he was thinking about, I figured it was going to be fun. After I read the script, I imagined that coming from a writer like that it would be a very well resolved story with interesting edges. So I sent.

What was the most difficult for each of you to achieve from your roles in the production?
Martín Salinas: Filming in three countries was complicated because the pandemic caught us in the middle. So, we had filmed two of the three stories that intersect and when we were letting some time pass to get organized, we lost two Uruguayan actors because they couldn’t cross to Buenos Aires. So I had to do the casting job again. For example, the role played by Verónica Llinás was originally male.

DH: The difficult thing is the balance between the horror, when a character is a psychopath, a serial killer and, at the same time, walking the delicate line of humor. A crazy humor that dialogues with the sinister. That balance could be the particular challenge of a work like this, in which one can be tempted to go to joke or terror, and that surfing in those different variants.

What is most likely to interest the public in this proposal?
DH: Seeing a choral film, with humor, terror, and that is presented as from a dystopian delusion, which actually reflects something that we have very close to and we can all recognize.

Supported by current chronicles, the black comedy ‘Lunático’ seeks sociopolitical satire