Synopsis

An American filmmaker arrives in the Argentinian pampa to film “Matadero”: a foundational tale of class struggle where a group of laborers slaughter their bosses like cattle. It is 1974, the violent persecution of the left has just begun in Argentina, and the young actors in the film are on the verge of taking a leap into full time clandestine militancy.

Title: Matadero
International Title: Matadero
Genre: Fiction/ Political Thriller
Running time: 106 minutes
Recording format: 2K
Projection format: DCP Color 2K
Production country: Argentina – Spain – France
Original language: Spanish & English
Language of subtitles:  English
Producers: Magoya Films, El Viaje Films, 4A4 Productions, Nina Produccions, Prisma Cine
Year of production: 2022
Premiere:  Locarno Film Festival (2022)
Color: Color
Aspect ratio: 1.85:1
Sound: Dolby 5.1

Director: Santiago Fillol
Screenwriter: Santiago Fillol, Edgadro Dobry, Lucas Vermal
DOP: Mauro Herce
Sound: Carlos García
Art Direction: Ana Cambre
Editing: Cristóbal Fernández
Music: Gerard Gil, Cristóbal Fernández
Cast: Julio Perillán, Malena Villa, Ailín Salas, Rafael Federman, Lina Gorbaneva, Ernestina Gatti, David Szechtman, Gustavo Javier Rodríguez

  • Locarno Film Festival | Concorso Cineasti del presente (2022)

Every time one class tries to speak on behalf of another, tensions and struggles arise over the portrait that some propose of the others: Matadero tries to stage these tensions. Explores a conflictive universe that’s been present in our country since its origins: the first Argentine fiction, “El Matadero” by Echeverría, brutalizes the popular class by proposing a violent and resentful portrait where a group of slaughterers become outraged and kill a rich man like a cow in a slaughterhouse: the most emblematic building of the Argentine imaginary, the “asado” plant.

I wrote the script with two Argentine friends who don’t come from cinema, Edgardo Dobry, a poet, and Lucas Vermal, a philosopher. That was very important because their contributions enriched my view, which comes more from cinema.

The representation of the class struggle and its violence opens us to the universal problem of what happens when we represent something: is it amplified, revealed, reproduced? Every era of strong conviction is also one of strong doubt. We decided that those doubts should have an important place in our work.

Santiago Fillol

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