The seeds

The history of Alberto Carlos Bustos goes back to a brotherhood: La Típica en Leve Ascenso, which included Miguel Ángel Solá, a group of artists with whom he recorded his first and only album. An interview in the newspaper La Nación, one of the most widely read in Argentina, gives an account of La Típica and Bustos' career. 

Although there are similarities with La Típica en Leve Ascenso, the Cultural Collective of Los Verdes Platónicos was born in the midst of the postmodern fever, as a result of the shake-up that in 2016 proposed the concept of metamodernity and then has its paradigm shift during covid. In that period, Los Verdes Paralelos is incorporated, which adds personalities of psychoanalysis and related areas of thought and culture. Both collectives are strengthened and interconnected with two independent publishing houses: Sátira and Musa y Oliverio. One of the main objectives of this Mega Group (through which more than one hundred people have passed) has always been and will continue to be to make films.

Miguel Ángel Solá, who had been starring, together with Paula Cancio, in the play “Doble o nada” and Nicolás García Sáez, progenitor of the Verdeplatonic Universe, met and got to know each other in Buenos Aires. Clara Terán, singer and one of the most delicate voices of that city, put them in contact. Theater, gatherings, trust, friendship, an interview that is published in the blog of the Collective...

Solá moves back to Madrid, García Sáez returns to the hills of Córdoba. Protagonist and budding director continue in virtual contact. Concerns shared during 2020 and 2021, but also extensive dialogues, pleasant, kindred, like-minded and funny via Whatsapp.

In early 2022, Solá and García Sáez agreed to publish “Vida, obra, sexo y arte de Alberto Carlos Bustos” (Life, work, sex and art of Alberto Carlos Bustos) on the blog of Los Verdes Platónicos. Although the platform already had a vintage tinge with respect to others that were more fashionable (Instagram, Facebook and, at that time, Twitter, etc.), the community space never ceased to be a trench of free thinkers. As feisty as they were entertaining, as lofty as they were nonsensical, many of the publications gathered thousands of readers. As it was, there were niches to keep exploring and the deep, delirious texts about Bustos came at the right time. 

"There are textual fragments, very extensive, catching, that resonate as a mixture of James Joyce with the best of Cervantes, without ceasing to be Miguel Ángel Solá. I am surprised that, often, the only thing that needs to be modified in his texts is a period or a comma," said García Sáez, who is also an editor and has been publishing (and correcting) hundreds of authors over the last eight years.

Each installment (more than fifty) that Solá made during a year and a half (while he returned to theater in Madrid and in between films and trips and series for Netflix), was accompanied by the drawings that García Sáez made in his childhood, between the ages of four and eight. Then, those children's drawings began to be designs made on his iPhone 7 and, with the same device, he started and explores some experimental videos, which will be the great seed of the film, the sprout that grows and strengthens, born there.