Weser (Argentina/2025). Address: Fernando Spiner. Script: Aníbal Zaldivar and Fernando Spiner. Photo: Claudio Beiza. Output: Alejandro Parysov. Music: Natalia Spiner. Pour: Daniel Fanego, Valeria Lois, Luis Ziembrowski, Aníbal Zaldívar, Fernando Spiner, Guillermo Saccomanno, Adriana Lestido, Ricardo Roux, Leonardo Castellani and Eduardo Spiner. Qualification: Only suitable for people aged 16 and over. Duration: 85 minutes. Our opinion: Good
Poetry and cinema and their reversal. A cinema that explores poetic support, mixing and merging words and images, reality and fiction, narrative creation and documentary intent. Life and death and its reversal. All of these formulations are examined in Weserthe work that marks the return of the experienced Fernando Spiner to the big screen.
Celebrated for films like The sleepwalker, and known for his television series ebbThe considerations and intentions expressed in continue here The buoya work of solid formulations in the documentary field and narrative experiments, which also served as a means of exploring family roots and a land known to all as a health resort, which in his hand becomes almost a setting for exploration.
There in their homes and traveling but unable to meet due to the still ongoing Covid pandemic, a group gathers through a chat platform. They share texts and reflections on life and death, and many of them also reveal their professions in dialogue with the context they live through or their personal history, sometimes mixed with that of Argentina itself. In Weser They seem to condense the reflections formulated by Alexandre Astruc at the end of the 40s and which gave rise to the Camera Stylo: “Cinema will gradually move away from the tyranny of the visual, of the image for the sake of the image, of the immediate anecdote, of the concrete, and will become a medium of writing as flexible and subtle as that of written language. This art is endowed with all possibilities, but prisoner of all prejudices…” wrote the French Theorist who provides a framework of analysis for which this work appears to relate to actors portraying real characters and people acting as themselves. And in the face of experimentation, of embracing the unthinkable reality itself with its infinite resonances: It was Daniel Fanego’s last theatrical work for a film that reflects death as a structural part of life, when he was already undergoing treatment and was ill.
The eponymous Weser is the ship on which Fernando Spiner’s Ukrainian great-grandfather came to Argentina while fleeing Argentina Pogroms from the late 19th century. What bridges connect such different experiences and such different stories? The names of great literature and the reading of Alejandra Pizarnik, Jaim Nahman Bialik, Walt Whitman, Juana de Ibarbourou, TS Eliot, José Emilio Pacheco, Alfonsina Storni, William Shakespeare and John Cheever invite the spiritual refuge that nests in each character of Weser and certainly in the wishes of the audience.
Within the practice of cinema, it is worth highlighting the careful editing work of Alejandro Parysow, which must give all these visual and narrative fragments the stylistic flight and visual coherence they require Weser together with the score by Natalia Spiner, whose sensitivity is the necessary path to a kind of melancholy that radiates as a synthesis of reflection on death. All of this makes possible Weserfrom its poetic and intelligent conception, like another sun, illuminates the dark part that follows every living being and leads to the most universal theme, although it torments many.
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