Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- PART I GENRE
- 1 The Future Catches Up with the Past: Peter Bogdanovich’s Targets
- 2 Surrealism and Sudden Death in the Films of Lucio Fulci
- 3 Flash Gordon and the 1930s and ’40s Science Fiction Serial
- 4 Just the Facts, Man: The Complicated Genesis of Television’s Dragnet
- 5 The Disquieting Aura of Fabián Bielinsky
- PART II HISTORY
- 6 Fast Worker: The Films of Sam Newfield
- 7 The Power of Resistance: Les Dames du Bois de Boulogne
- 8 Beyond Characterization: Performance in 1960s Experimental Cinema
- 9 Vanishing Point: The Last Days of Film
- PART III INTERVIEWS
- 10 “Let the Sleepers Sleep and the Haters Hate”: An Interview with Dale “Rage” Resteghini
- 11 Margin Call: An Interview with J. C. Chandor
- 12 “All My Films Are Personal”: An Interview with Pat Jackson
- 13 Working Within the System: An Interview with Gerry O’Hara
- 14 Andrew V. McLaglen: Last of the Hollywood Professionals
- 15 Pop Star, Director, Actor: An Interview with Michael Sarne
- Works Cited and Consulted
- About the Author
- Index
5 - The Disquieting Aura of Fabián Bielinsky
Published online by Cambridge University Press: 10 September 2020
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- PART I GENRE
- 1 The Future Catches Up with the Past: Peter Bogdanovich’s Targets
- 2 Surrealism and Sudden Death in the Films of Lucio Fulci
- 3 Flash Gordon and the 1930s and ’40s Science Fiction Serial
- 4 Just the Facts, Man: The Complicated Genesis of Television’s Dragnet
- 5 The Disquieting Aura of Fabián Bielinsky
- PART II HISTORY
- 6 Fast Worker: The Films of Sam Newfield
- 7 The Power of Resistance: Les Dames du Bois de Boulogne
- 8 Beyond Characterization: Performance in 1960s Experimental Cinema
- 9 Vanishing Point: The Last Days of Film
- PART III INTERVIEWS
- 10 “Let the Sleepers Sleep and the Haters Hate”: An Interview with Dale “Rage” Resteghini
- 11 Margin Call: An Interview with J. C. Chandor
- 12 “All My Films Are Personal”: An Interview with Pat Jackson
- 13 Working Within the System: An Interview with Gerry O’Hara
- 14 Andrew V. McLaglen: Last of the Hollywood Professionals
- 15 Pop Star, Director, Actor: An Interview with Michael Sarne
- Works Cited and Consulted
- About the Author
- Index
Summary
I said no to Hollywood. There you have no freedom to create.
—Bielinsky to Federico Fahsbender (Fashbender 2005)Film audiences won't find in [The Aura] an accessible or agreeable story. Also, the film doesn't show a bit of sympathy or good intentions for any of the characters. I’m talking not only about the near total lack of humor, but also that dramatic concessions were avoided in the screenplay – even though this is not a very good attitude when you think of a film as a product to be sold.
—Bielinsky to Amadeo Lukas (Lukas 2009)Fabián Bielinsky's career was brief, but incandescent, yet his moment in the public eye came after years of hard work and apprenticeship. Born on the 3 February 1959 in Buenos Aires, Bielinsky became obsessed with cinema during childhood and, by the age of 13, began making films while studying at the Colegio Nacional de Buenos Aires – one of which was the short film Continuidad de los Parques (1971), based on a short story by Julio Cortázar. After graduating from high school, Bielinsky suddenly decided to pursue studies in psychology, but soon abandoned this to enter the Centro de Experimentación y Realización Cinematografia (also known as Escuela Nacional de Experimentación y Realización Cinematográfica or ENERC) where he directed another short film – La Espera (The Wait, 1983), from a story by Jorge Luis Borges – which also attracted favorable attention, winning first prize at the International Festival of Huesco in Spain (Moviefone 2013). This led to a plethora of work as an assistant director and, before his debut as a feature director with Nine Queens in 1998, Bielinsky drove himself into the ground working on roughly 400 television commercials along with, in the words of one biographer, several high-profile feature films including Marco Bechis’ Alambrado, Mario Levin's Sotto Voce, and Carlos Sorin's Eterna Sonrise de New Jersey. Bielinsky then worked his way up the ladder, climbing up to the tier of co-screenwriter and second director on two projects for filmmaker Fernando Spiner: Bajamar, la Costa del Silencio and La Sonámbula. Bielinsky's graduation to director happened somewhat capriciously; he won first prize in a filmmaking contest sponsored by Patagonik Film Group, Kodak, Cinecolor, JZ y Associados and FX Sound – a cash prize that gave him the funds to shoot his debut feature.
- Type
- Chapter
- Information
- Cinema at the Margins , pp. 43 - 58Publisher: Anthem PressPrint publication year: 2013