🎬 CROMAÑÓN: "EL RELATO DE LA SERIE ME PARECIÓ SINCERO"
👉 A 20 años de la tragedia de Cromañón, se estrena la serie que revive la tragedia. Hablamos con José Iglesias, el padre de Pedro, una de las víctimas.
"Yo vivía en Cromañón, ahora vivo con Cromañón "
"Esta serie la estábamos esperando hace mucho tiempo"
"No ví distorsión de la realidad en la serie"
👉Seguí en #VivoElDomingo
📺 a24.com/vivo
👉 A 20 años de la tragedia de Cromañón, se estrena la serie que revive la tragedia. Hablamos con José Iglesias, el padre de Pedro, una de las víctimas.
"Yo vivía en Cromañón, ahora vivo con Cromañón "
"Esta serie la estábamos esperando hace mucho tiempo"
"No ví distorsión de la realidad en la serie"
👉Seguí en #VivoElDomingo
📺 a24.com/vivo
Category
🗞
NewsTranscript
00:00We are talking about the Chromagnon series, which is on Amazon Prime,
00:04which can be seen all together, and that José chose and decided on the day of the premiere
00:08to see it all together to know that he was going to have to go through that setback
00:12of having to remember it, it happened 20 years ago and that he was going to see it all together.
00:16Having said that, José, what was your first impression of the series?
00:21The first thing you said when you saw the whole series, the whole story.
00:26Well, the series seemed to me, first of all, I am not in condition for lack of independence,
00:36to judge it cinematographically or as an audiovisual spectacle, but as a story.
00:46It seemed very sincere to me, made with good faith, and the truth is that the roles were wrapped
00:56with a lot of authenticity, so the final product is something that, to some extent,
01:06we had been waiting for a long time, something that would serve for society to remember Chromagnon
01:16with greater intensity and to think about what really happened.
01:21And for those who, when Chromagnon happened, were very young, because they have passed 20,
01:30well, they could see it and know what it was about.
01:33In that sense, I think it is positive.
01:37What an interesting look, José, because you are part of this story,
01:41and because we were telling that maybe some survivors had shown, not angry,
01:47but they had said, look, this was not like this, look, this situation did not happen this way.
01:52Maybe they were stigmatizing some, with the marked figure of some characters,
01:58they were stigmatizing those of us who went to see a show.
02:08José?
02:10Yes, what was the question?
02:12No, that some people on social media, some survivors on social media,
02:17had said that they felt that things that were told in the film had not been that way
02:23and that in a certain way they were stigmatizing those who went to a recital.
02:28Let's see, I have not seen in the series any distortion of reality, of what has happened.
02:36Yes, there are details, by the way, and it is inevitable that there are,
02:41in any fiction that tries to reproduce a real event.
02:49But there is no alteration of historical events in any way.
02:55And well, the series reflects the event of a group of survivors.
03:03And what it reflects is something that happened to many survivors.
03:11Well, but there are many others that happened to them in a different way,
03:15and out there they are not reflected in the fictional part.
03:20But what is the fundamental knot is the reproduction of what happened in the Fiel series.
03:28And besides, sometimes you have to do this exercise of saying no after seeing it in its entirety.
03:35Which is, sometimes, not what is happening in the debate that is taking place, right?
03:40Sure, people who just started watching or saw part of the series,
03:45say that the bathroom guard did not exist, or such a situation did not occur, or we went.
03:51The truth is that when so many people go, or so many people participate in an event,
03:56each one also has his own view of what that night was.
03:59And how that night was, and how the preview was given, the moment,
04:03and how his life was from that fact that surely marked them.
04:07Look, according to the calculation made by the oral tribunal in the sentence,
04:14that night there were 4,500 people.
04:17Yes.
04:18Well, it could be that, a little more even.
04:21There are 4,500 different stories.
04:24Different.
04:26I have the version of the psychological experiments,
04:30of the hundreds of psychological experiments that I have seen throughout the civil trials.
04:35Yes.
04:36And there is no story like any other.
04:38Sure.
04:39There is none.
04:40So, probably looking for the individual story, many do not feel represented.
04:47But here it is about, from the fictional story of a group,
04:54tell the fact that it linked us all with a massacre.
04:59José, good morning.
05:00And I think that achieves it.
05:01Sure.
05:02José, good morning.
05:03Two questions.
05:04Good morning.
05:04The first is if, from the screenwriters, the producers of the series,
05:10they contacted you and other relatives to ask for information about what had happened,
05:17beyond the judicial sentence, I mean.
05:21And secondly, and this perhaps more on a personal level,
05:2420 years have passed, how do you live with the scar,
05:29or with the open wound of missing a child every day,
05:34especially in these moments when we are talking about a series
05:36that just comes to put us in front of a devastating tragedy for our history,
05:44due to the number of deceased.
05:46The worst tragedy in our history.
05:50Well, in relation to the first, yes, by the way, they contacted.
05:55I have provided them with a lot of material, because they asked for it.
06:00We even had many times together, asking me questions.
06:11Even at some point, it almost seemed like the stages of a pre-script, right?
06:18That is, following those stages.
06:20They did the same with many survivors.
06:23I know that because sometimes we have met.
06:26And they also took all the material that I know they saw.
06:30For example, all the recordings of the oral trial,
06:35which is a trial that was developed over a year,
06:39with hearings three times a week.
06:43So very long hearings that started in the morning
06:46and ended around six in the afternoon.
06:49Where there is a lot of material, because there,
06:52the witnesses survive it precisely.
06:56So all this has been documented very deeply.
07:00Well, this was reflected in what we saw.
07:06And the second question?
07:07The second was, how do I live with Cro-Magnon?
07:11That's the question.
07:16I think they are stages.
07:19During the first years I lived in Cro-Magnon.
07:23And now I live with Cro-Magnon.
07:26What does this mean?
07:29Let's say, I learned to live with this.
07:33I don't know how to live without it because it's impossible.
07:37I miss Pedro every day.
07:40But I learned to live with another kind of presence of Pedro.
07:45And by the way, that doesn't stop me.
07:48When I see anything related,
07:52it impacts me, it moves me and it makes me cry.
07:57Because, yes, indeed, there is a wound
08:01that is characterized by fleur-de-piel.
08:04That's it.
08:06Well, that's the situation.
08:09And well, when these things come,
08:12the 30th also hits, it's a date.
08:16It hits in a slightly more intense way.
08:21But well, the whole year is like this.
08:25José, I want to ask you,
08:27you just told me that you saw the series Un Tirón,
08:30for reasons obviously linked to what it generates for you.
08:35But I wanted, you know what feeling it gave me
08:39as a simple observer?
08:41That maybe there was,
08:43I don't know if to speak of a stigmatization,
08:46but like a certain exaggeration in certain episodes, right?
08:52It's the feeling that gave me,
08:54maybe I'm wrong and that's why I want to ask you
08:57from your point of view.
08:59Like saying, no, well, there were guys in certain...
09:02that the monoblogs, that...
09:04I don't know if you understand where I want to go,
09:06maybe I'm not expressing myself well,
09:08but it gave me that feeling,
09:10that exaggeration of a certain marginality
09:13that I thought was not such.
09:15Do you understand?
09:17I understand.
09:18What happens is that you have to look
09:20that the series was positioned to tell
09:25the story of a group of survivors.
09:28Precisely from Villa Celina.
09:32Where, well, yes, there may be,
09:35I don't know if marginality,
09:37but it's a more humble area and so on.
09:43And it simply portrayed from there.
09:46Now, that's not bad,
09:48because Cromañón is also that,
09:50and it is also a cross-cutting cut of society.
09:54It's true, there were many from Villa Celina,
09:57but also from Barrio Parque,
09:59there was the whole society.
10:01Of course, being 4,500 stories,
10:03you will find yourself with different views.
10:07José, it was very important in your moment
10:09what you did, because the search also,
10:12once you are a victim,
10:14because you lose such a close relative
10:16and a son, right?
10:17With how hard that must have been
10:19and that I could not imagine in any way.
10:21I think the most important thing afterwards
10:23was first to seek justice,
10:25and then to seek that this story would not be repeated.
10:27In what situation did it remain,
10:29especially in the city of Buenos Aires,
10:31from events of this type,
10:33of the oversale,
10:35the amount of atrocities that happened
10:37in that place, with the doors closed,
10:39with the locks, with the doors that opened inwards,
10:41and so on?
10:43Let's see.
10:47What it does at night,
10:49the truth is that the only thing that changed
10:51is that the night was moved
10:53and the business of the night
10:55is no longer done in special dances,
10:57but it is done in other spaces,
10:59where corruption is still in force,
11:04as it was at that time,
11:06more expensive,
11:08and every now and then there is an incident.
11:10The last one, in time, is in Guardo.
11:12But every now and then there is.
11:14And as for how it was,
11:16what happened,
11:18the fight is mentioned very well
11:20so that it is not repeated,
11:22that it was part of the simultaneous fight.
11:24And the truth is,
11:26I don't know if we failed,
11:28I think so,
11:30and also society,
11:32society,
11:34in some way, much more.
11:36For example,
11:38the River Atlético-Mineiro party
11:4015 days ago,
11:42a bengal festival,
11:44bengalas provided by the club,
11:48provided by the club,
11:50which housed them inside the club,
11:52there were thousands of bengalas,
11:54thousands of bengalas,
11:56that even the journalists who
11:58transmitted the party
12:01did not know about the use of the bengalas.
12:03I mean, not irresponsible,
12:05of the snarls.
12:07And this happened
12:09without any reaction.
12:11So this means,
12:13Cromañón, the truth,
12:15achieved nothing,
12:17society is drugged,
12:19it doesn't care, it's indifferent,
12:21and indifference is perhaps
12:23one of the worst poisons.
12:25And well, this is what happened.
12:27This means that
12:29194 young people
12:31were seriously injured,
12:334,000,
12:354,500,
12:37for nothing.
12:39For nothing.
12:41And well, this is a great contempt,
12:43this is the balance.
12:45I mean,
12:47it seemed pathetic to me,
12:51a journalist, a journalist,
12:53a journalist,
12:55a journalist,
12:58as such,
13:00encourages the use of bengalas,
13:02and an institution
13:04organizes
13:06a bengalas festival.
13:08I think that sums it all up.
13:10It's more eloquent than any opinion.
13:12I hadn't seen it that way.
13:14It's a completely
13:16accurate look at what happened
13:18a few, 15 days ago.
13:20First with River, then with Racing.
13:22Yes, they had some sanctions, but...
13:24What was discussed
13:26at that time was that we don't care
13:28to face the economic sanction
13:30after having the bengalas
13:32that we want to have.
13:34And every bengalas, surely,
13:36José, I've reminded you,
13:38showed you that situation
13:40that happened 20 years ago.
13:42I think that in the first years
13:44there was a kind of...
13:46I don't know if it was acting or what,
13:48but those of us who, at that time,
13:50I was 19, 20 years old,
13:52and we would go out and see
13:55the first years there was
13:57I don't know if it was acting
13:59but the check-up on the places,
14:01whether they were class C
14:03or not,
14:05there was a moment.
14:07The emergency exits.
14:09Yes, that existed.
14:11I don't think it was acting.
14:13But it was
14:15a very weak
14:17conscience,
14:19and that's why it was lost.
14:21It was lost
14:23at the age of 12.
14:25And that's why today
14:27it lives with us.
14:29It was the conscience of the moment
14:31when you see that there is
14:33a traffic accident
14:35or something and you say
14:37no, you have to wear a belt
14:39and it lasts a little while
14:41after this massacre.
14:43It's better to call it a massacre
14:45than a tragedy
14:47because there are a lot of condiments
14:49that make us talk about
14:52what was so important
14:54when it happened.
14:56Not only as a lawyer
14:58but also as the father
15:00of one of the victims.
15:02And also your view on the show
15:04that surprised me
15:06but it's good.
15:08Did you expect the show?
15:10Did the show help you?
15:12You had to watch it all together
15:14because it was a moment.
15:16But do you think it can help
15:18other kids
15:20to see that there is a story
15:22like this?
15:24Exactly.
15:26I think that's the most important thing.
15:28They don't have to rebuild
15:30anything for me.
15:32To the kids
15:34that...
15:36My granddaughter
15:38was in my arms
15:40when it happened.
15:42She doesn't know
15:44more than what you tell her.
15:46And here it looks like a show that shows it.
15:49We always wanted to have something like this.
15:51On the way there were attempts.
15:53One that advanced a lot.
15:55It was a Sorin project.
15:57It was going to be a movie
15:59but it didn't make it.
16:01And the new platforms
16:03allowed us to build
16:05these stories
16:07that allow us to tell
16:09and that we take into account
16:11that, as Jose told us,
16:13it was investigated,
16:15it was worked on
16:17and that's how a story is built.
16:19A subjectivity that is this fiction
16:21based on real events.
16:23It's not a documentary.
16:25It's a fiction based on real events
16:27but with argumentation,
16:29with data, with information
16:31that, as Jose told us,
16:33went to the sources.
16:35To look for the families,
16:37to the sentence,
16:39to the judicial process.
16:41It's not an improvised series.
16:43It's something that comes
16:45from the journalist's point of view.
16:47Yes, and Jose says that he knows
16:49that all the material they asked for
16:51was seen and that this is reflected
16:53in the series.
16:55Then we can agree, not with the look,
16:57but with the subjectivity of the director
16:59in this case.
17:01But that there was an investigation,
17:03there was, and that gives it seriousness.
17:05That's very important too.
17:07And telling the story of 10 kids
17:09of 4,500 that were present there.
17:11Jose, thank you very much
17:13and I'm sure that someone
17:15will be interested in giving it
17:17and that's good.
17:19Yes, without a doubt.
17:21And that many more people
17:23will be interested to know more
17:25about Chromaniopok.
17:27We even talked about the fact
17:29that there were many searches
17:31on YouTube of videos to see content
17:33and surely a lot will be read
17:35in these days from the creation
17:37and appearance of this series
17:39that revives the pain
17:41of those who did.