Private Project

Fiction

A group of actors is faced with the confusing approach of a director, who cut off the rehearsals of a play to repeat a scene with two characters, exchanging roles. The lack of clarity in the direction and economics of the project, added to the director's request for the actors to expose themselves, generates challenging reactions and situations that bring to the table issues such as care, power dynamics, leadership and manipulation.

  • Jada Sirkin
    Director
    Tenderline (letters from America), Scenes from a broken party, TRAMA
  • Jada Sirkin
    Writer
  • Jada Sirkin
    Producer
  • Dama David
    Producer
  • Project Title (Original Language):
    La ficción
  • Project Type:
    Feature
  • Genres:
    Drama, comedy
  • Runtime:
    2 hours 52 minutes
  • Completion Date:
    December 3, 2024
  • Country of Origin:
    Argentina
  • Country of Filming:
    Argentina
  • Language:
    Spanish
  • Shooting Format:
    DIGITAL
  • Aspect Ratio:
    4:3
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Jada Sirkin

Jada Sirkin studied film direction at ENERC (INCAA), literature, theater, dance, music. He wrote, produced and directed short films, medium-length films and 3 features. He is co-founder-director of the production company RETICULAR films, which produced films, a miniseries and a series and has its own online platform. He acted in plays, published books of stories and philosophy. He gives writing and film workshops. He studied film criticism at OtrosCines.com. He writes in Caligari Magazine. “The Unquiet Spectator” is his film and philosophy podcast and book.

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Director Statement

Fiction is a film born out of the desire to create another film. In search of an objective, we discover the value of the journey. Fiction is born from the attempt to create fiction, from the awakening of a curiosity for the collective creative process. In the journey of creating an art form, we find ourselves as a group with the richness of shared experience.

When we speak of art, we generally refer to the artworks. The art we talk about is the art that is exhibited. The unpublished remains invisible, but it holds valuable information about what we call aesthetic experience and, therefore, about what we call human experience.

When a group of people get together to create something that does not respond to social survival needs, it makes room for subtleties and complexities that everyday life, focused on solving basic problems, tends to banish.

Politics is often trapped in the labyrinths of urgency. Art is a particular context in which that urgency can be put on hold. That suspension of the race for survival allows us to investigate more delicate relational dynamics. If politics obliges us to choreograph thicker relational choreographies, art (and specifically, the art of fiction) explores more delicate relational movements.

In the field of artistic exploration we can investigate minutiae that in the field of politics we do not have time to even recognize. In a creative group, relational challenges are inevitable. We are human and we are learning to relate to each other. The problem with politics is that, so concerned with solving problems, it is not concerned with how we relate to each other. When we attend to these relational challenges, when we stop overlooking them in order to achieve results, when we dedicate ourselves to the learning involved in communicating, the experiment becomes more powerful.

When we discover the power of the relational experiment, the process itself becomes a product. Fiction is an invitation to acknowledge the poetic and political value of collective creative processes.