Description: Argentine film criticism has always found Leonardo Favio notoriously difficult, to categorize. Despite his unwillingness to cater to the mainstream and his penchant for formal experimentation, Favio has nonetheless proved remarkably successful in his efforts to connect with a mass audience. His filmography (which spans 35 years and consists of only nine films) constitutes an oeuvre that is remarkably coherent. Neither an intellectual nor a popular artist, Favio has developed a personal poetics at the margins of dogma and aesthetic fashion. Intuitive, brilliant, refined, technically meticulous, and possessing a singular sense of beauty, he is one of the four or five most important filmmakers in the history of Argentine cinema.
His real name is Faud Jorge Jury, and he was born in 1938 in Lujan de Cuyo, a town in the province of Mendoza. A street kid who was once sent to a reformatory, he aspired to be a boxer, enlisted in the navy, and did jail time for a minor robbery. Thanks to his mother, a scriptwriter for radio dramas, Favio became an on-air actor and from there moved into cinema.
After several small roles, he was discovered by producer/director Leopoldo Torre Nilsson, who asked him to appear in his film The Kidnapper (El secuestrador, 58). Torre Nilsson was the most respected director of the innovative Generacion del 60 movement, which -- following the example of the new European cinemas -- sought an alternative to Argentina's old studio system and economically bankrupt film industry. Favio went on to become a frequent presence in the films of this new generation: among others, he worked with Fernando Ayala (The Boss, 58), Jose Martinez Suarez (Responsibility, 61), Manuel Antin (The Respectable Ones, 62), and Rene Mugica (The Eighth Hell, 63), as well as appearing in Torre Nilsson's The Party Is Over (60) and Hand in the Trap (60).
In 1960 Favio directed a short entitled The Friend (El amigo), which was followed in 1964 by his debut Chronicle of a Lonely Child (Cronica de un nino solo). With its raw depiction of life in reform school and the villas miseria (shantytowns), the film erupted onto the trite Argentine cinema scene with revelatory force: Favio managed to articulate certain European New Wave influences within the framework of a personal aesthetic that demolished the barrier separating high culture from art. Although Chronicle of a Lonely Child was clearly influenced by Torte Nilsson, Bresson, Truffaut, and Bunuel, its focus on society's fringes and the predicaments of characters beaten down by inhumane social conditions represented a departure from the Generacion del 60's preoccupation with the urban bourgeoisie. An instinctive talent with an evident feel for the medium, the director combined art-house filmmaking with familiar characters and settings, aesthetic experimentation with an awareness of conventional dramatic forms such as radio soap-opera and itinerant theater.
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