In the documentary of “The many deaths of Nora Dalmasso”

EXCLUSIVE: The director of The many deaths of Nora Dalmasso tells the deadline for the remarkable real connection he had with a case which is the subject of his series Netflix True-Crime.

“I went to Argentina at my 18 years on my sabbatical year by trying to learn Spanish and I ended up teaching English in a small agricultural town in the center of the country,” said Jamie Crawford in his first interview in English on the series. “Ten years after my stay, a terrible crime occurred. A woman was murdered and she was the best friend of the family I lived with. ”

The woman was Nora Dalmasso and her unresolved murder is one of the most infamous crime stories in Argentina. While the victim’s family faced the relentless dazzling of the media, Crawford, which, in the years that became, became director with credits, especially Trainwreck: Woodstock ’99remained away. “I stayed in touch with friends and people in this community. I looked at him from afar and I was not approaching this because of these friendships. I knew it was a very sensitive story. ”

It changed four years ago, when he learned that family members thought they were telling their stories. He started talking to them and it took 18 months before Dalmasso’s husband, Marcelo Macarrón, and the children, Facundo and Valentina, were committed to putting their accounts on the film. While some real crimes seek to find new evidence or find a culprit, Crawford wanted to understand the impact on a family push under the spotlight.

“My job was not to solve the case and I always told them, it’s not my mission. I want to know what it looks like. It was the same question for journalists, for lawyers, he understood this personal experience.”

A case that seized the nation

Dalmasso was found dead at home in 2006, in a wealthy suburb of Río Cuarto in the province of Cordoba. She had been strangled. From an eminent family, Dalmasso was raised in an easy environment and was a well -known figure. Several people have been charged with his murder over the years, notably Gastón Zárate, a painter who has worked on the renovations of the House of the Family and whose arrest has aroused many demonstrations. Her son, Facundo, then more recently, her husband Marcelo, was also charged. All were acquitted. Last year, a new suspect was appointed, but the limitation period means that it is not clear how the situation will take place.

The case is therefore always unresolved. In the absence of a culprit, rumors, speculation and conjectures took place in the middle of a press frenzy of the press.

“What happened was this remarkable kind of horrible roller coaster over the years, accusations, trials, wild plots and the kind of terrible rumors factory that destroyed this family and exploded them,” said Crawford. “Their only defense against this media attack was to reduce the shutters and not to speak, because everything you say will be considered as proof against you. If you cry, if you do not cry, if you smile, if you don’t smile … Everything is a judgment. In the absence of speaking a lot over the years, many hypotheses.”

Following a press conference after the murder, Macarrón, was considered cold, while Facundo, who was in the closet, was released in the press. Relying media control is detailed in the film and explains its title. In the last episode, Macarrón says that the media intrusion delayed him in mourning for his deceased wife. “They killed her 1,000 times with 1,000 different tales,” he says.

Meanwhile, a local journalist who has followed the case from the start, Hernán Vaca Narvaja, contributes to the series and gives the prospect of journalists responsible for covering the story.

Dalmasso’s family in front of the camera

The team had two days each with the trio of family members. Valentina did not want to participate, but changed my heart shortly before filming.

During the first stages of the interviews, the subjects were closed, remembers Crawford, because this is how the family had learned to face the questions. They gradually opened. “You have to keep hitting, going through, then all going out. Then you can really sympathize and understand what it is to go through it,” he said.

A low point in the murder media report was the dissemination of images of the Dalmasso crime and body scene. Crawford says The many deaths of Nora Dalmasso The team deliberately avoided reproducing this kind of coverage: “We were not going to repeat this offense by showing the photos of it.”

Netflix had been launched – and succeeded – on various taken on the history of Dalmasso before the green of this project, which is produced by Pulse Films, the producer behind The disappearance of Madeleine McCannalso for Netflix.

“They had never found a happy road that was going to be sensitive enough,” said Crawford. “When I approach them with access to the family, it changed the game, because it is a perspective that we have never heard before, and it is first.”

The Pulse Films team included Tom Keeling, because the executive producer and Cra-Rapped Crawford says he was a key editorial guide and a resonance box while the team developed a relationship with the family.

A new goal on the real crime

The three games now broadcasts on Netflix. “The facts of the case and the chronology of events provide us with the framework, but not the story,” says Crawford. “We wanted to trace this experiential version of this story through the family, through friends, through journalists who have experienced this.”

He adds: “His children, as part of this project, are really on a mission to present Nora Dalmasso to the world as she was, like their mother.”

An Argentinian story, the Dalmasso affair is parallel to other murders that attracted local, then national, then international attention.

“This crime has very quickly exploded in a multimedia fire storm, in a similar way to the Madeleine McCann case or Amanda Knox, and has become an emblematic story of crime of the last 20 years, filled with all the ingredients that come together to make these things so combustible: sex, politics, money, mystery, murder.”

He adds: “It is a well-known triangle between the victims of justice and the press, and it is the world we question, and it is applicable to many stories that have arisen here in the United Kingdom over the years or the United States.

“I hope [the series] will produce a certain degree of empathy where there was sometimes none. Many harmful hypotheses have been made and I think there is an opportunity to reassess how this story was told. “”

As a filmmaker, Crawford says that manufacturing The many deaths of Nora Dalmasso made him think about the real kind of crime. “It made me stop and think a little more about how we consume the real crime and to reflect that when there is this kind of assault on information, it is easy to forget that there are humans behind each story.”