Daniel Burman | |
|---|---|
 Burman atLincoln Center'sWalter Reade Theater, January 2013. | |
| Born | Daniel Burman (1973-08-29)August 29, 1973 (age 51) |
| Occupation(s) | Film director, screenwriter and film producer |
| Years active | 1995–present |
| Children | Eloy Burman |
Daniel Burman (born 29 August 1973, inBuenos Aires) is anArgentinefilm director,screenplay writer, andproducer.
According to film critic Joel Poblete, who writes forMabuse, a cinema magazine, Daniel Burman is one of the members of the so-called "New Argentina Cinema", which begancirca 1998.[1] In fact, film critic Anthony Kaufman, writing forindieWIRE, said Burman'sA Chrysanthemum Burst in Cincoesquinas (1998) has been cited as the beginning of the "New Argentine Cinema" wave.[2]
Burman is ofPolish-Jewish descent, and he was born and raised inBuenos Aires. He holds both Argentine and Polish citizenship, like his films' character, Ariel. He studied law before changing to audiovisual media production.[citation needed]
In 1995, he launched his own production company together withDiego Dubcovsky,BD Cine (Burman and Dubcovsky Cine). Burman is also a founding member of theAcademy of Argentine Cinema.[3]
His loose trilogy of films,Esperando al Mesías (2000),El Abrazo Partido (2004), andDerecho de Familia (2006), were all written and directed by Burman and starUruguayan actorDaniel Hendler. They are largely autobiographical, dealing with the life of a young neurotic Jew in contemporary Buenos Aires.
He frequently collaborates with other Argentine Jews, notably writer andklezmer musicianMarcelo Birmajer, and César Lerner. His comedic touches often bring comparison toWoody Allen, a comparison Burman is quick to reject. He said, "It's not a measurable comparison. But I'm very happy with it. I admire him more than anyone else in the world."[4]
Burman's films have been featured in many film festivals around the world.El abrazo partido (2003) took the Grand Jury Prize at theBerlin International Film Festival, as well as best actor for Hendler. Burman was co-producer of the successful 2004 film,The Motorcycle Diaries, as well asGarage Olimpo (1999).
In an interview with Brian Brooks, who writes forindieWIRE.com, an online community of independent filmmakers and aficionados, Burman discussed his approach to filmmaking. He said: "I don't have goals when I make a film, except to create the story I wanted to tell as faithfully as possible, and that the sensations that provoked me to tell the story are also caused when reading the script."[5]
"I don't love film in itself; it's not like I was debating the merits of using different types of camera-work, like traveling shots. I love film because it's a story-telling tool," he said in an interview he did for TimesSquare.com.[6]
It is arguable that the loose trilogy of films —Esperando al Mesías (2000),El Abrazo Partido (2003), andDerecho de Familia (2006) — happen in the same "universe". The three share common traits: They are written and directed by Burman and all star Daniel Hendler in the title role as a young Jew. Additionally, several actors and actresses appear twice in the films. Because Hendler's characters share similar traits (they are all named Ariel: Ariel Goldstein, Ariel Makaroff and Ariel Perelman respectively) and because some characters from one film seem to appear in another, the trilogy is usually considered as happening in the same universe
Several continuity changes show that the three Ariels are different people: In the first movie, Ariel's father is a restaurant owner, and his mother dies; in the second film, his father has been long gone, and his mother tends to a small shop; in the third movie, his father dies in the film, and his mother has been long dead. However, a character named Estela from the first film appears in the second, and is both times played byMelina Petriella. This at least connects the first two movies to the same universe. Additionally,Juan José Flores Quispe appears in the second and third movie as "Ramón". Although his character, unlike Estela, varies from film to film, this suggests that the second and third film also share the same universe and, thus, the trilogy itself is set in the same storyline, with the "Ariel persona" showing either different aspects of the same character or simply being a mere coincidence.
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