Mario César, Strokes in a Notebook

Scésar Gecé/ Sin categoría

Random scenes of everyday, of what you find on the streets. Notebook (Cuaderno de Notas in spanish, Mario César Castro, 2018) is an observation —or poetry— of the city, of what happens and we can not see it with certain clarity.

Mario César’s film expresses freedom. The images fluctuate, as he says, “each scene is the beginning and the ending of a new movie”, and perhaps it is the film closest to what we live.

It is also free because it has nothing of that genre or commercial cinema, neither it obey aesthetic and technical parameters. There are no frames or effects, but perceptions and contrasts. There is a camera that sees how a human eye sees walking any district with its ambulantes and its animals and the odd random thing.

Mario César gave his film to me to be able to interview him for Panoramity. So I saw it in the comfort of my house and on the screen of my laptop.

His audiovisual “stroke” and that of this medium have things in common. In fact, our exploration is the same and our freedom absolute.Fotograma de Cuaderno de Notas de Mario Cesar

Recording day

We went out to talk with him at Downtown. Curiously, and against any forecast, we met in a shopping center, in its wildest area: the food court, “you just have to go around and we will meet” he told me on Facebook.

We thought of random places to record the interview while we were walking. And something was put in front of us: the Palace of Justice. We climbed the innumerable steps, to reach the door, but it was not a good idea, a policeman approached us immediately. He did not ask us anything, he just stayed close, talked with Mario about the history of the Palace, while we readied things, “at some point the cop has to go,” we thought.

los policías mientras entrevistábamos a mario césar de cuaderno de notas

We had to lower half of what we had up because the police, then he left. We arrived at the height of the ornamental lions that the Palace has. That was the place, we located ourselves and started to record.

Soon more police arrived, the time we had been there had passed a limit, they argued. How long was the limit ?, Although it seems a philosophical question, it was one without reason as many that are handled in the power of this country.

Independent transactions

The good thing is that we had already finished the interview. We accompanied Mario to Passage 18 in Polvos Azules, he usually bought films from Voyeur, from the Respiro video, but when he arrived there were two Venezuelans in the stand, Voyeur had traveled.

Fotograma de Cuaderno de Notas de Mario César

What usually happens between sellers and buyers of the first stands of Passage 18, apart from the business, is a brief conversation about the new, of what was bought before or from a current issue. When Voyeur was not there, the visit became one more transaction in the universe of buying and selling.


On the walk out of Polvos Azules, Mario suggested us to record more. We did not have it planned, so we accepted.

Mario César siendo entrevistado por Cuaderno de Notas en la estación del Metropolitano

The Central Station of the Metropolitan would be the place, but the inspectors were everywhere, except in one area, it was there where we continued the recording and where we finished.


One of the questions we asked him and with which the video is opened was “If you had to put a voice in your film, what would you say?” The response was hilarious and sensible. Thankfully we use that as a voice in off for our video.

Interview by Panoramity


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