Episode Description
https://notesonfilm1.com/2025/08/24/jose-arroyo-in-conversation-with-cinema-mentire/
I was lucky enough to see Maria Luisa Bemberg's SEÑORA DE NADIE (NOBODY'S WIFE, 1982)and YO, LA PEOR DE TODAS (I, THE WORST OF ALL, 1990) at this year's CINEMA REDISCOVERED in Bristol, in gorgeous prints, with an appreciative and enthusiastic audience. I'm a long-time fan of Bemberg's but I'd never had the opportunity to see SEÑORA DE NADIE and I'd never seen YO LA PEOR DE TODAS in such a beautiful version. The films surprised and delighted. But what I was most taken with was the effervescence, energy and brilliance of Amina Farley Yael and Natalia Christofoletti Barrenha who introduced the two films. They along with Marta Calderon Quiñones are Cinema Mentiré. This podcast is the result of my wanting to know more about Cinema Mentiré, who they are, what they do; and also, of my wanting to publicise the re-circulation of such marvellous films by a legendary female filmmaker in new restorations (which films? What are they about? What are they like? Why are they worth seeing now?), and with new subtitles undertaken by Cinema Mentiré themselves.
I was lucky enough to see Maria Luisa Bemberg's SEÑORA DE NADIE (NOBODY'S WIFE, 1982)and YO, LA PEOR DE TODAS (I, THE WORST OF ALL, 1990) at this year's CINEMA REDISCOVERED in Bristol, in gorgeous prints, with an appreciative and enthusiastic audience. I'm a long-time fan of Bemberg's but I'd never had the opportunity to see SEÑORA DE NADIE and I'd never seen YO LA PEOR DE TODAS in such a beautiful version. The films surprised and delighted. But what I was most taken with was the effervescence, energy and brilliance of Amina Farley Yael and Natalia Christofoletti Barrenha who introduced the two films. They along with Marta Calderon Quiñones are Cinema Mentiré. This podcast is the result of my wanting to know more about Cinema Mentiré, who they are, what they do; and also, of my wanting to publicise the re-circulation of such marvellous films by a legendary female filmmaker in new restorations (which films? What are they about? What are they like? Why are they worth seeing now?), and with new subtitles undertaken by Cinema Mentiré themselves.