HomeCultureThe country mourns the departure of Margot Benacerraf

The country mourns the departure of Margot Benacerraf

She was a winner at Cannes and founder of the Cinemateca

Great sadness reigns in the country's cultural world after learning of the physical departure of the Venezuelan filmmaker Margot Benacerraf (1926-2024), yesterday Wednesday, at 97 years of age.

Doubly recognized during the 1959 Cannes Festival, when she received the awards from the International Critics and the Technical Commission for her feature film Araya, one of the fundamental pieces of Latin American documentary cinema, the director, screenwriter and producer enjoyed great lucidity despite his advanced age.

Among his many recognitions, he received the Francisco de Miranda Order from President Nicolás Maduro in 2018.

He was born in Caracas and was part of the first class of graduates of Philosophy and Letters from the Central University of Venezuela, in 1947, to continue studying cinematography in Paris, between 1950 and 1952.

Her first work was a documentary about Armando Reverón in 1951, another gem of Venezuelan cinema that earned her great admiration, first for her youth and then for her status as a woman. In 1966 she founded the National Cinematheque, which she directed for three years, and then only became part of its board of directors.

The funeral ceremonies for his eternal rest were held yesterday at the Beit Yossef villa in San Bernardino, under the rules of the Jewish funeral ritual, an occasion that allowed the Minister of Culture, Ernesto Villegas, to bring the national government's words of condolence on behalf of the president. Ripe.

Villegas assured that he hopes to see the moment when Benacerraf's remains, as well as those of Román Chalbaud and those of Juanita Mota (Armando Reverón's inseparable companion), are transferred to the National Pantheon because they are "a loving expression of the affirmative Venezuelan ”.

In an interview with Pablo Gamba, Margot recalled: “They say that Araya was truly important because he had seen Latin America with a new vision. Glauber Rocha, who interviewed me in Cannes, always said that Araya did not have an impact in Venezuela but it did have an impact on Cinema Novo in Brazil. That Araya situation is very curious because, when he went to the Cannes Festival, it was not a film that they could box in. Is it documentary? Is it fiction? What is it? It's a poem, some said. But, well, they needed to put a label on it.”

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