Aún hoy existe una cierta resistencia a reconocer la revolución estética causada por Virus a principios de los años ochenta. La audacia de Federico Moura al frente de la banda de La Plata superó los límites del rock y sigue siendo una fuente de conocimiento del art-pop. Imágenes Paganas explora esa tensión y ese rechazo en tiempos de dictadura, un flagelo que la familia Moura pagó con la desaparición del hermano mayor de Federico. El documental de Costantino inaugura un tiempo de reparación histórica con Federico Moura como guerrero de la modernidad.
Even today there is still a certain resistance to recognizing the aesthetic revolution caused by Virus in the early eighties. The audacity of Federico Moura at the head of the La Plata's band exceeded the limits of rock and is still a source of art-pop knowledge. Pagan images explores that tension and rejection in times of dictatorship, a scourge that the Moura family paid with the disappearance of Federico's older brother. "I know what I do not want, but I'm not sure what I want and I'm glad it's so, the uncertain keeps me alive," says the singer as the youth photos go by quickly and all their profiles explain to the budding artist. The fan's look is borne by the direction: Sergio Costantino puts all the memorabilia at the service of the lost traces of the singer, who will die of AIDS in December 1988. Even the inserts, a kind of vision parallel to the stories of the protagonists reinforce stylistic features such as ambiguity, provocation, irony and sexual freedom
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