Saula Benavente Reflects on Circus, Family, and Filmmaking

For many Argentinians over 40, the Moscow Circus evokes instant nostalgia, a cherished memory of classic entertainment deeply ingrained in the collective consciousness. Filmmaker Saula Benavente taps into this sentiment with her documentary, Once, a Circus, a cinematic journey through archival footage and⁤ firsthand accounts of‍ the Russian State circus’s impact.

A Personal Connection ‍to the ⁢Big Top

“The circus reminds me of my early childhood,” benavente saeid. “That’s why I found something interesting to tell in that world. Besides, my ancestors were involved with traveling theaters. My father’s grandfather⁢ was a well-known clown named Padín.”

Once, a Circus has garnered recognition at the BAFICI film festival and has been screening for three weeks at the Cine Gaumont, and also other INCAA (National Institute of Cinema and Audiovisual Arts) venues across Argentina.

An Artistic Lineage

Benavente,daughter of painter,set designer,and costume designer Saulo Benavente,and stage director Graciela Galán,comes from a ⁣family steeped in the arts. Her aunt was the actress Mónica Galán.

Benavente recalls a childhood immersed in art,growing up in a building where family members occupied different floors,each contributing to the artistic atmosphere. She continues to engage with the arts through her involvement with the Patronage ⁢programme, which supports artistic endeavors in ‍Buenos Aires.

The Moscow⁢ Circus in Buenos‍ aires: A Bold Venture

Benavente recounts her father’s role in bringing the Moscow circus to Buenos Aires in 1966. “Bringing the circus in 1966 was an act of⁣ unconsciousness by my father and his two partners,” she explained. “He had traveled⁤ to Russia as part of the ⁤International Theater Institute and was persuaded‍ by the Minister of Culture to bring the company to Buenos Aires.”

She added that it was a financial risk at the time. “It was an era where ⁤some artists and producers ventured, today we are all more cautious. They formed a cooperative, approached banks, and even secured funding from members ‍of the ⁢Communist Party. The circus’s initial visit proved prosperous, quickly transforming it into a viable business.”

From ⁤Archival Material to ⁤Documentary Film

The documentary project began when Carlos Garaycochea, whose father had produced the Moscow Circus in the 1980s, contacted Benavente about his collection ‍of archival ⁢material. “I want to do something with all the‍ material,” Garaycochea⁣ told her. They collaborated remotely during the pandemic⁢ to develop the project.

Benavente also contributed her own archival material, as her father had been the first producer to ⁣bring the Russian company to Buenos Aires. “My dad, who died in 1982, produced it until the seventies,” she said.

The Circus: A Universal Language

According to researcher Beatriz Seibel,the circus is one of ⁤the oldest forms of entertainment,tracing back to ancient rituals across continents. Its blend of dance, music, and storytelling makes it a ⁣unique and influential art form.

Benavente confirmed that the State Circus still exists in Russia, housed in spectacular buildings. For the film,she ‍interviewed many artists who had toured Argentina during the circus’s heyday.

The Cold War Connection

The Moscow Circus’s performances in Argentina marked a important cultural exchange during the Cold War.Benavente’s film explores the circus’s impact and its eventual decline ⁣following the collapse of the Soviet Union. “My film is‍ about the Soviet circus, what an imprint it had and how it falls along with the USSR,”⁢ she said.

She noted that the Argentine crew members observed the social⁢ and political climate in the USSR through the artists’ behavior and needs. In the 1970s, the artists were interested in experiencing the culture,⁤ while in the following decade, ⁣they became more focused on consumer goods.

On Her Name and Legacy

When asked about bearing the name Saula Benavente, she responded, “I’m used to it… Today I can boast of not having used my name or having asked for a favor for being who was my father. I proud to call myself as my name and that it was not something snob, ⁣but it has a reason.”

Personal Life and Relationships

Benavente’s son, Baldomero, is named after an ancient name. He is a psychology student with a passion for Japanese culture. Baldomero’s father, Gerardo Rotblat, a percussionist for Los⁢ Fabulosos Cadillacs, passed away ⁤in 2008.

Benavente is currently in a relationship with actor ⁣Luis Brandoni. When asked about the age difference,she stated,”I was never interested in older men,my relationship with Brandoni is an exception in my life.”

She recounted how they ⁤met at a birthday party and how Brandoni’s charm won her over. ⁤despite initial ⁤concerns about public perception, she ultimately decided to‍ embrace the relationship. Benavente was 40 and Brandoni was 73 when they began dating.

Benavente ⁣also shared that she has a good relationship with Brandoni’s daughters and his ex-wife,Martha Bianchi,often ⁢sharing family dinners together.

Remembering Saulo Benavente’s ⁣Impact

Benavente reflected on her⁣ father’s legacy,noting that⁢ he is remembered with admiration and affection. She expressed concern that younger generations of artists may not be familiar with his work. “That has to do with⁤ the training that professionals receive today, with the little value ‍that is given‍ to⁤ the work of ‍outstanding people and history, so having made the documentary about the Moscow ⁢circus I’m sorry as a necessary preservation of heritage.”