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docs for sale IDFA 2022

Fidel, Brave Child

Fidel, Niño Valiente
produced, written and directed by Mario Verón
documentary
2021
Argentina,Paraguay
74 min
Guarani language
Tags
  • sport
  • horse racing
  • youth
  • childhood
  • coming-of-age
  • poverty
  • men's team
  • competition
  • horse
  • football
  • Maradona
  • provinces
  • surrogate family
Festivals

Argentina Festival de Cine Nacional Leonardo Favio Bolivar Special Mention

Synopsis

Fidel is a child who migrates from Paraguay to the bowels of the jungle of Misionera, Argentina. In the mountain is horse the workers call "El Che" for his noble spirit; just like the Revolutionary Che Guevara. The boy will ride his dream horse wearing Maradona's number 10 jersey as his amulet. His goal will be to earn money to help his mother living in poverty.

Cast
Fidel Canteros
Erico Canteros
Enrique "Yuka" Caballero
Crew
assistant director in Argentina Octavio Yain Romero
assistant director in Paraguay Juan Manuel Zaldua
assistant producer in Argentina Johanna Santalucia
staging Javier Di Pasquo Gal
director of photography Pablo Bruzzone
assistant director of photography Carolina Sejas
portraits Barbara Raiker
camera crew Mario Verón, Octavio Yain Romero
original soundtrack composition and direction Lucas Guinot
postproduction and soundtrack Sakio Hiraiwa
color correction Juan Manuel Zelada
executive producer Osvaldo Ortiz Faiman
production by MST Libertad MisionesPuatarara Films
Comments

The film Fidel Niño Valiente is a poetic documentary, and to achieve this goal, Verón lived in the mountain for five months without any film recording equipment, building trust with the protagonists and their natural environment. This was a tool to be a participant in the observation and was treated with delicacy, to define those natural scenarios that later in the story were highlighted as characters of the story. It worked, through Carmen Guaraní's concept of "Shared Anthropology", where the characters reveal their feelings. The subjects negotiated with the director about what could and could not be filmed in their lives, with mutual respect for each other. As for the lighting adopted in the film, it was decided to work with natural light, which took time to contemplate and to find the ideal position of the sun, in order to give a pictorial composition to the film. Only in the night scenes was it recorded under the light of the candles that the protagonists used daily when the sun set. The film is shot with handheld camera, in order to not invade their space with an excess of film equipment. We sought to respect their daily lives and keep a respectful distance, trying to achieve an intimate, sensitive and profound documentary. Sound is relevant in the film as it builds the environment of the child's daily life and the nature that surrounds it. To conclude, it is worth mentioning that Fidel's voiceover is used, as he will be the one who immerses us in the story.

Long synopsis

Fidel is a child who lives in the bowels of Monte de Puerto Libertad, Misiones. At the age of twelve he works in the field and competes in races with Che, his horse. With these races he seeks to triumphs in order to earn money and help his mother who lives deep in the heart of Paraguay. But Che will have a near-fatal accident and the child will try to heal him with his limited resources. Fidel must wait for his partner or race with another horse. While he awaits his friend's fate, he will ride Lunita de Libertad, always wearing his lucky Maradona jersey, awakening even more hope in the peasants who follow him. With an epic humanity, the small but great jockey will make his way into the improvised turf court built on the land claimed by Alto Paraná S.A.Multinational, a company that owns 10% of the Missionary territory and that is in conflict with the peasants residing there. Riding on his dream horse, the borders will be blurred with his Sapucai roar, a cry from the noble roots of his Guarani blood, shouts that mimic "freedom’s call, which expands the asphyxiated lungs of those who wish to be, ask for rhythm, beg for justice for what they feel to be excessive."

Press
“Fidel es un niño paraguayo de 12 años que viaja a Misiones para trabajar como peón en un campo; allí conoce a Che, un caballo con el que correrá para ganarse unos pesos más y enviárselos a su madre en Paraguay. Mario Verón, el realizador de este documental, retrata de una manera intimista la vida de un niño, que casi como un hombre, transita su preadolescencia trabajando de manera precarizada y remarca la desigualdad por la que atraviesa tanto él como otros campesinos frente al poder de enormes empresas multinacionales.”
Vanina Suárez, PANTALLA PARTIDA
“A lo largo de la hora y doce minutos que dura el documental, conviven el dolor y la alegría, la desilusión y la esperanza, la supervivencia y la pasión. Todo retratado de manera honesta y verídica, “Fidel niño valiente” de Mario Verón logra esto, sentirse real. Ingresar al espectador en el mundo de estos muchachos. Observando, sin prejuicios, sin juzgar, estando ahí realmente.”
Francisco Mendes Moas, CINE Y TEATRO ARGENTINO HOY
“Con estos emotivos elementos el director Mario Verón (Neike y Te olvidaste de mí) logró relatar una historia cálida y sencilla que muestra la forma en que el protagonista y su caballo luchan para lograr el ansiado triunfo y la admiración de quienes lo rodean. Rodada con actores no profesionales, el film halla en Fidel Cantero a un protagonista que supo manejar con habilidad esa aventura que habla de amistad y de amor hacia ese caballo que logrará convertirse en un héroe en medio de la algarabía de todo un pueblo.”
Adolfo C. Martínez, PARA LA NACION
“De pobreza, amor, explotación, infancias de juegos y dolores, de tierras coloradas y pieles curtidas, de cuadreras, apuestas y festejos. De nostalgias y familias. Y de territorios ocultados por aquellos que prefieren que no sepamos nada sobre lo que ocurre en el monte profundo, y del mundo guaraní que no conoce demasiado de fronteras, porque la vida de sus mujeres y hombres se cuentan en las charlas nocturnas iluminadas a vela y puro cebo, en cualquier lugar donde estén.”
Daniel Cholakian, SUBJETIVA
Notes from the director

For more than 10 years I have been working in the Province of Misiones, Argentina with indigenous people and farmworkers fighting for their land against Multinational Companies. Thus a very strong bond of friendship with them was forged. I must say that the story of this child surprised me after the first call made to me by the farmworkers. It's a unique story, and “You should film it,” said Dario Araujo, referring to the farmworkers. They told me that there was a boy named Fidel, who was racing on a horse named "El Che", like Che Guevara. The horse had been named by the community in homage to the revolutionary historical character. As if that wasn't enough, this kid was running around in Maradona's number 10 shirt because according to him, it brought him luck. They quickly became the horse and jockey representing the village. Undoubtedly, all this was magical, but I can say that what touched me was that Fidel traveled to another country in shoes that were falling apart and crossed a river to try to win races and help his mother escape poverty. Without question, for me this story that had to be told was "magical realism" - reality surpassed fiction once again. This is what encouraged me to tell this story. The finances were frustrating as there was no immediate budget, and if I was looking for funds with film contests, the bureaucracy would have ended the child's story immediately. The story of Fidel, Brave Child would be lost and i could not afford to let that happen. I'd like to say it was definitely an urgent film for me. I had to figure out how to use what I had on hand and the economic problems became a narrative opportunity.

A movie can be austere and beautiful, so I headed to that place in a thought-out way. How can I film to contemplate the scene, without being invasive? I lived in the mountains for 5 months without filming - eating what they ate, sleeping where they slept, learning to work the earth, always understanding that I came from somewhere else. But I needed to understand their pain, their joys, their struggles. The goal then was to build a bond and from the bond love, from love to trust, until achieving what you see on the screen. Indebted and almost budgetless, with my house pawned by the bank, I could barely sustain this, and I was emotionally distressed. It was Fidel who supported me with his encouragement and example. The sixth month, he came to a team, which we filmed for 15 days. The results are on the screen. I directed the film with a premise "A scene rather than an aesthetic fact is an ethical fact." Today, Fidel and I have a friendship that still endures and the certainty that among all of us we made a film that possesses what every film should have: humanity. I dream that the story of Fidel, Brave Child will boldly travel the world for him and for the anonymous children who show us the way forward, regardless of their cultural origin.

 

Diego Maradona with Fidel, Brave Child DVD

 

Diego Maradona

Diego Maradona, the best soccer player of all times and one of the most famous men in the world with our film. Fidel runs with his shirt. It's very difficult to get to him, but we did it and he was very excited.

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