A recognition to the individual contributions that lead to the consolidation of Argentine cinema, seen as a sum of tenacity, memory and renovation.
Mercedes Alfonsín
Argentine cinema owes Mercedes Alfonsín one of the most talented and renewing looks, on an area of work until recently forgotten at the bottom of the inkwells of the most respected critics: art direction. Her admission to New York University allowed her to consolidate an instruction to which she added sensitivity and natural talent, as well as a work perspective that she defends with arguments, good ideas and better results: «there is always a bible for each film where I have many visual references and where I try to write the concept. Having a precise visual concept is cleaner, it’s like a guide,» she says.
In recent years, her presence on film sets (and a previous arduous task of research and various inquiries) consolidated her professional profile with her own style, which earned her the absolute trust of Argentine directors acclaimed by different audiences and international festivals.
The stories that are the constitutive sap of the cinematographic tales of «Luna de Avellaneda», «El aura», «Monobloc» or «La puta y la ballena» -just to mention a few- bear the indelible mark of an artist capable of interpreting the director’s desire, without losing the collective perspectives of the team or the singular expertise that her work demands. Despite her youth, Mercedes Alfonsín has come a long and fruitful way, turning Art Direction, no longer in a subsidiary aspect of the story, but in a fertile ground where characters and actions dialogue, nourishing the story with a more complete and enriching look.