Based on a true story, Soledad is a well-observed, passionate feature debut from Agustina Macri (who is incidentally the oldest daughter of Mauricio, the president of Argentina). The events are not widely known, but they did leave a mark on not one, but two countries in the late 1990s, since Soledad Rosas left her native land as a twenty-something middle-class girl and shockingly ended up dead in Turin after getting involved with an Italian anarchist group.
Clearly striving to be as respectful and faithful to its protagonists as possible, Macri’s drama feels lived-in and claustrophobic throughout, detailing the story through an emphasis on dialogue and shooting mostly in interiors to maximize production values. Having already opened in Argentinian cinemas, Soledad recently started touring the European festival circuit. After a stop at the Warsaw Intl. Film Festival where we had a chance to sit down with Macri, the film receives some Italian exposure at the local festival in Rome later this week.
Tomáš Hudák is a programmer and a film critic based in Bratislava, Slovakia. Programming at independent cultural centre A4 – Space for contemporary culture, which focus on challenging and experimental art, is his main occupation throughout a year. He is also associated with three other film festivals in Slovakia and he regularly writes about cinema for film magazine Kinečko and other outlets. In past, he worked as a film archivist at Slovak Film Institute and his archival research resulted in two papers on local film history.
