Behind the scenes of Carmel: who killed María Marta ?, the Netflix documentary about the Belsunce case

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Alejandro Hartmann and Vanessa Ragone, as director and producer of the series that arrives this Thursday 5, tell intimacies of the filming. In this four-episode production, almost all the voices of a case that remains unsolved speak.

On October 27, 2002, María Marta García Belsunce was found dead in her home in the country Carmel, in Pilar. More than a month later, the autopsy revealed that he had not suffered a domestic accident, as was said at first, but rather they had killed her with five shots to the head. From then on, the issue flooded the television channels, newspapers, radios and magazines. But, 18 years later, after judicial marches and countermarches, the case remains unpunished.

In its four chapters, Carmel: Who killed María Marta? -which will be available on Netflix from this Thursday 5th-proposes an exciting journey through one of the most resounding crimes in Argentine police history. Away from the confusing media noise this documentary miniseries provides a detailed and educational review by the case, from the day of the murder to the present, putting it in context and trying to explain why it caused such fascination.

“The objective was ask more questions than certainties. The idea was to maintain the delicate balance between the different hypotheses and accusations, “he says. Alejandro Hartmann, the director, who interviewed most of those involved in the case, with the widower and main suspect, Carlos Carrascosa, and the prosecutor who accused him, Diego Molina Pico, as the main protagonists.

Hartmann he spent years with the fantasy of making a film about the García Belsunce case. He was able to realize it thanks to the support of the producer Vanessa Ragone, who had also wanted to take the case to the movies.

“From my production company (Haddock Films) I wanted to make a fiction on the subject, but could not find in which register”, says Ragone: “Because there are such complex and even absurd edges, that it could be an incomprehensible fiction”.

In 2009 he produced Thursday’s widows, by Marcelo Piñeyro, based on a novel by Claudia Piñeiro (which also appears in Carmel, speaking of the case from a literary point of view), which is about a crime in a country.

“But it has nothing to do with the García Belsunce case. Until Alejandro arrived with his team (the screenwriters Sofía Mora, Lucas Bucci and Tomás Sposato) and his investigation and the meeting took place: we both wanted to address the same thing from the documentary”.

-Alejandro, when did you start investigating the subject?

-Hartmann: For years, every time I met Sofía Mora for friendly reasons, our conversations inevitably ended in the García Belsunce case. We dreamed of a fiction. Later, a friend of the García Belsunce family approached me and told me that he wanted to make a documentary. So I started reading the cause and books on the subject, but it came to nothing. It was years ago.

-And how did they refloat it?

-Hartmann: In another meeting with Sofia we realized that it had to be a documentary in the form of a series and very good production. You had to have the real protagonists. The way they spoke and reopened this topic, which was closed, was to show a very serious and solid project. There we approached Vanessa, who immediately accepted because she knew about it. We were on the same page.

-How long did the investigation last?

-Hartmann: Between the investigation and the filming it was two years. There was a part done: by his obsession with the case, Sofia had read most of the case. For the project to become a reality we had to do everything at once. We went out to face different protagonists of the case, while investigating what materials were available.

– Was it difficult to get those involved in the cause to speak?

-Ragone: Not everyone really wanted to speak, until they saw that the proposal was to give the floor to everyone and for each one to express what they wanted and felt. After the first interviews, others understood our point of view and our way of working and they joined us.

-Hartmann: All the protagonists of the case at some point were loved and very well treated by the press, and at another time they fell from grace, depending on how the court case was going. This includes the civil servants of the Justice, who at one time were heroes and, at another, villains. Everyone was a bit reluctant, but they really liked that others participated. They understood that it was the best way.

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