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The greatest hits of Argentine cinema, turned into the nighttime vedette of Public TV

Outstanding feature films released since the beginning of the millennium maintain their emotional relevance with viewers, a context that grew strongly with the pandemic.

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The countless health problems caused by the arrival of the pandemic, generated in the entertainment industry a considerable number of changes in its operating schemes. The traditional Public TV was one of the broadcasting stations that had to modify its structure quite a lot, not being able to maneuver with so many people inside the driving or animation space. Many of his well-known programs had to go immediately to remote mode, not forgetting that the transmissions of some events that this signal broadcasts, were affected by the cancellation of mass events, sequels of the quarantine that broke the waterline of the state station into the middle.

Many cycles of the night strip had to be reformulated, when a couple of props from the “prime-time” strip disappeared from the station located in Figueroa Alcorta Avenue that gave him important audience and very auspicious rating guarisms. Occupying within the grillado a place of privilege due to its impact in all provinces, the format “Country Festival”, a programme that disseminated concerts or artistic events in the different provinces of our nation, forced to disappear when precautions of nature forced naturally to cancel all mass meetings of artistic tone.

The traditional events held in different locations in the interior had to be canceled, generating an egg in the weekly grid of programs that the Public TV authorities had to occupy quickly, appealing to the ingenuity and timely reasoning with the response that were recently awakened by some entertainment contexts at the time of more viewing by the massive audience on the small screen. It was understood at first water that classics such as festivals such as Villa María, Cosquín and Jesus Maria would not be held for obvious reasons. On Saturdays and Sundays, those broadcasts from 22 hours were a classic, but health restrictions forced us to rethink without much analysis space how to occupy those hours without losing the level of public interest.


argentinian cinema


With the support of Incaa, the large broadcaster that is located at the intersection of Tagle and Figueroa streets, began in the last decade a support for Argentine filmmakers, times where national cinema seemed to occupy better spaces in broadcasting after the phenomenology provoked by & ldquo; The son of the bride”, fantastic feature film by Juan José Campanella who won an Oscar nomination. After that film that got into the heart of millions with great plot and superlative performances, the Argentine film industry received support from foreign producers and structures, who saw this artistic raw material an eloquent and seductive export format.

The growth of domestic film consumption and the absence of musical events on the small screen with provincial restrictions, were the perfect pairing that triggered the growth of local feature films broadcasting on the state screen. The screening of several works that at the time exceeded one million viewers in the usual film complexes in the country, found on the traditional screen of Public Tv an unbeatable broadcast space, giving the interest of new viewers who cannot enjoy public outings on weekends, unprecedently appealed to the ritual of lighting the TV and touring the tuner waiting for the film or event “salvador”.

Taking advantage of the fact that government authorities officially confirmed that the famous festivals and folklore clubs would not be held, the station that was born in the 70s under the nomenclature of Argentina Televisora Color (ATC), did not waste time and began a slow process of construction aimed at capturing on the screen of the Public TV, a range of films that the Argentine viewer always valued since its premiere in the usual neighborhood cinemas. January, a month where every night provincial events were hypnotic magnet for audiences across the country, things mutated forcefully exposing that Argentine cinema could adequately occupy a privileged place in the grid of broadcasts.


argentinian cinema


The films that people had always wanted to watch in a monthly sequence approached an audience thirsty for them. Responding to an appropriate selection of very hooky and engaging titles, the start of the 2021 season resulted in the broadcast of feature films such as “Ilustre Citizen”, “Wild Stories”, “The Odyssey of the Giles” and “The Secret of His Eyes” on day and time highlighted . These prestigious films of national origin had gained massive acceptance in their official premieres, expected screenings that achieved outstanding commercial revenues in the film complex, exceeding in many cases one million viewers in their first quarter of daily performances.

Argentinian cinema has in the names of performers such as Ricardo Darín, Oscar Martínez, Guillermo Francella and Leonardo Sbaraglia, who are very summoning figures of these artistic productions, something that also firmly corresponds to the perceptible support of the television audience in the rating figures in a state channel quite remissive to them. That a director of Juan José Campanella's carats, winner of the Oscar for his famous work “El Secreto de sus Ojos”, add to this screen features of his extensive filmography not appreciated at the time, also constituted an engaging context about artistic materials within reach of the national audience, sometimes elusive to them. To these captivating works much more recent, were added the evocations to films such as “Be Account” or “Waiting for the carriage”, the latter a huge artistic jewel that caused a group of documentalists to broadcast on the news of the Public TV a work called “The bodybuilders”, held in the fans of that film.


argentinian cinema


One of the latest productions presented on Public TV was “El Aura”, a film by late director Fabian Bielinsky, became one of the props of this television signal, premiere on this channel that also added in a program of the traditional grid weekly an exclusive interview with the prestigious actor Ricardo Darín, recalling details of that film and his connection with the talented filmmaker who died very young. Using the different communication spaces of the state channel, several of the great artists who participated in these productions agreed to conduct several video-interviews with some television drivers of the Buenos Aires broadcaster, supporting the presence of these films on the main national television screen.

All these varied approaches to the national film context in the “prime-time” gave a successful response to the state broadcaster, a signal that in these hours is bound, thanks to the response achieved in these months, to generate new cycles with local films seeking to sustain this phenomenon television. Horseback with the unexpected and unusual health disruption, habits seem to have changed, now with the varied and numerous digital stage where hundreds of content are offered simultaneously. If earlier the audience who loved world cinema stood in the “private function” program, conducted by Romulo Berruti and Carlos Morelli, now the new offers of Argentine cinema that this state broadcaster offers seem to revive and promote a new romance for the public with the jewels of cinematography argentina, works that remain eternal in the hearts of its spectators without generating fatigue or wear and tear. ;

Publication Date: 07/03/2021

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