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Ana García Blaya won the award for best director at the recent Mar del Plata Festival and attended the closing ceremony wearing a T-shirt that read “Nothing without Cristina.” Her deep Kirchnerist convictions are revealed in another photo of hers, the one that appears on Wikipedia under her name. There the shirt says “mare WHORE”, in what seems like a show of solidarity with her political idol, whose supporters used to complain that her boss received insults of that nature from opponents. Here the director appears with her arms crossed, covering part of the legend.

More curious is that the Wikipedia text reads (or was read on November 15, because Wikipedia usually changes its contents) regarding La Uruguaya, the film that was shown in Mar del Plata: “This is the first production of Orsai Audiovisuales. To carry out the production of the film, thousands of people collectively organized to finance it and thus become “producing partners”, making aesthetic and artistic decisions and participating in the entire process from the very beginning.” I understood the fundraising thing, but I had a hard time imagining how they had managed to get thousands of people to make aesthetic and artistic decisions in the production of a film. I wondered if the tasks had been distributed among thousands, or if the producing partners had voted in assembly or virtually on the lines of dialogue, the framing, the locations, the choice of actors? Perhaps Kirchnerism, I told myself, works in the cultural sphere like the Juche ideology created by comrade Kim Il-sung and perfected by his relatives and successors in power in North Korea, which establishes as its first principle that “the owner of the revolution and the construction are the popular masses, whose ideological unity and leadership that conceives the leader, the party and the masses as a sociopolitical entity with the same goal.” Something similar can happen in the making of a film if the ideological unity between the direction, the technical team and the contributors leads them all to think together in the same direction.

But later, with more information (always from Wikipedia), I abandoned my initial skepticism. When consulting the entry dedicated to the film (before, I had only looked at the director’s entry, moved by the distaste that this textile provocation aligned with power that García Blaya subjected the viewers to in a country as divided as the Argentina) I found out how this elaboration between all of them had been. “An exclusive application for producers was created where they debate, propose, talk with the directors of all areas (art, script, finance, photography and more) and even make decisions with the logic of a Congress. The partners have participated in non-binding surveys –with the purpose of proposing and debating– and in others that have been binding and their results had to be complied with without protest.” Something quite similar to Democratic Centralism, according to which it is discussed and then complied with. Like the Party Congresses, the system is part of the Leninist methodology and the idea of ​​a democracy uncontaminated by liberalism. Art does not have to be an exception.

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