Pevita Pearce
As the 74th San Sebastián Film Festival prepares to host its prestigious Europe-Latin America Co-Production Forum, one project stands out for its delicate thematic ambition and its reflection of the shifting landscape of South American cinema. The Rehearsals (Los Ensayos), the latest endeavor from acclaimed Argentine filmmaker Celina Murga, has been selected as one of 15 projects to be showcased at the forum, which runs from September 21 to 23.
Known for her intimate, character-driven dramas and a long-standing creative alliance with Martin Scorsese, Murga’s new film promises to be a meditation on the invisibility of aging, the complexities of familial duty, and the thin, permeable veil between the mundane and the surreal.
The Narrative Core: A Family in Transition
The Rehearsals is an atmospheric exploration of domestic life under the weight of inevitable decline. The story centers on Eva, a woman approaching her 50th birthday, who finds herself acting as the primary caregiver for her 80-year-old mother. A retired, once-prominent physician, the mother is now grappling with the encroaching shadows of Alzheimer’s disease.
The household, a microcosm of familial tension and affection, is shared by Eva’s teenage son and her younger sister. Together, they navigate the rhythmic, often exhausting cycle of hospital visits, minor celebrations, and the quiet disagreements that arise when caregiving becomes a daily, long-term commitment.
However, Murga—drawing inspiration from the short stories of Japanese-Argentine author Alejandra Kamiya—introduces a startling element of magical realism: a mysterious presence of bulls that begins to gather around the family home. This narrative choice serves as a catalyst, grounding the film’s exploration of vulnerability in a landscape where reality is constantly punctuated by the fantastic.
Chronology and Creative Evolution
Celina Murga has long been a fixture of the international festival circuit. Her career trajectory began with the 2003 debut Ana and the Others, a film that marked her as a keen observer of human relationships. Over the following two decades, she has consistently refined a style that favors emotional truth over overt melodrama.
The development of The Rehearsals represents a significant chapter in her career, reflecting both her aesthetic maturity and the practical realities of modern filmmaking. Murga plans to move the project into production by 2028, leveraging new international partnerships and regional financial incentives.
- 2003: Ana and the Others premieres, launching Murga onto the global stage.
- 2014: The Third Side of the River is released, with Martin Scorsese serving as an executive producer, cementing a transatlantic mentorship.
- 2023: The Freshly Cut Grass debuts, again with the support of Scorsese, further establishing Murga’s reputation as a director of international stature.
- 2024: The Rehearsals is selected for the San Sebastián Co-Production Forum, marking the project’s formal entry into the international market.
- 2028 (Projected): Principal photography is scheduled to commence in Uruguay.
Supporting Data: The Regional Shift
The production of The Rehearsals is emblematic of a larger, necessary shift in Argentine cinema. As state support for the arts faces internal headwinds in Argentina, filmmakers are increasingly looking toward cross-border collaborations to maintain their artistic output.
Murga has partnered with the Uruguay-based production house Alterna Media to spearhead the film. The choice is both strategic and artistic. Uruguay’s recently introduced audiovisual tax credit—which offers incentives on up to 30% of eligible expenditures—provides a vital lifeline for regional productions.
Alterna Media, founded by María Laura Berch and Joaquín Romero Vercellino, brings a formidable track record to the project. Their portfolio includes high-profile successes such as the Berlinale Silver Bear winner El mensaje and the critically acclaimed series La de Punta Carretas, directed by César Charlone and Fernando Meirelles. For Murga, the collaboration is a reunion; she has worked with producer María Laura Berch since her sophomore feature, Una Semana Solos.
Official Perspectives: The Philosophy of Care
In an exclusive discussion regarding the project, Murga articulated the deep-seated motivations behind The Rehearsals. She emphasized that the film is not a clinical study of Alzheimer’s, but a broader, more humanistic inquiry into how society views the end of life.
"The film reflects on the way our society looks at aging, deterioration, and death," Murga noted. "We live in a culture that rewards youth and productivity, making aging bodies and slowing time increasingly invisible. Yet, confronting mortality can also open new forms of intimacy and a renewed perception of vitality."
Regarding her creative process and the adaptation of Alejandra Kamiya’s work, Murga explained: "I was deeply struck by how these stories explore themes that interest me: the ambiguous, tense relationship between parents and children; humanity’s profound connection to nature; and death as an inevitable part of life. The coexistence of the everyday and the extraordinary suggested to me a cinematic way of approaching death—not as a spectacular intrusion, but as a presence that slowly infiltrates daily life."
The Scorsese Influence
Murga’s relationship with Martin Scorsese remains a cornerstone of her professional life. When asked how the legendary filmmaker continues to impact her work, Murga highlights the human element above the technical.
"I value not only his place as an emblematic director in the history of world cinema, but also his human commitment and his profound understanding of cinema’s power within individual cultures," she said. "He is always attentive to what I’m doing—he emails me to ask about my projects and suggest new ones. What I treasure most is a sense of mission: understanding why we make films, what they can mean, and how deeply that purpose can inspire others."
Implications for the Future of Independent Cinema
The significance of The Rehearsals extends beyond the screen. It highlights the growing importance of "regionalized" production models in Latin America. By utilizing the geographical and cultural proximity between Argentina’s Entre Ríos province and the Uruguayan border, Murga is proving that constraints can lead to innovation.
The film’s refusal to aestheticize suffering is perhaps its most radical stance. By treating the camera as a tool for "ethical observation," Murga aims to challenge the audience to look at the process of aging without the filters of pity or horror.
"How can we look at someone experiencing deterioration without reducing them to their fragility?" she asks. "How can we approach vulnerability without turning it into a spectacle?"
As the project heads to San Sebastián, it carries the weight of these questions. The Rehearsals promises to be a defining work in Murga’s filmography—a testament to the idea that, in the face of our finite condition, the act of observing, caring for, and connecting with one another is the ultimate, and perhaps only, rebellion against invisibility. Whether through the lens of a daughter’s love or the mysterious, encroaching presence of the natural world, the film invites viewers to find the extraordinary within the most quiet, human moments of our existence.
Nana Muazin
Lina Hope
