. And he did so through the direct testimony of his former companions, the musicians who accompanied him at different stages of his solo career; his mother, Lilian Clark; his sisters, Laura and Estella, and their children, Benito and Lisa. And Sarati, who tells his story in the interviews, some of them are unpublished, along with rich archival material.
After Shakira, Zeta Bossio and Charlie Alberti described the musician on the basis of their own opinions ("I think this gave him great pleasure and did not know how to limit things that gave him pleasure," the bassist says openly), the action starts with Mena arriving in Clark's house for a family lunch with the whole Cerati clan. After a tour of the room in which the musician lived up to the presentation of the first album of soda stereo, Laura listens to the listening of the period in which Juan Jose, his father, pretends to be a radio announcer who presents his listeners for a new talent: his son Gustavo, only six years old, singing a song.
Lillian Clark and the secrets of the song
That sound acts as an incentive to emphasize the support that Carati always had for his family. "If there's something you should not regret is following the child's profession, whatever it is, do not frustrate them at all," says Clark, who also emphasizes how her husband was responsible for bringing notes and instruments to his son each time when he traveled to work in the United States. Gustavo himself emphasizes the support of an interview done in 1990 in which he says: "They are still protecting me, whenever I shoot, I show them and I hope they will embrace me and come closer."
Zeta Bossio is charged with explaining how they met at the University of Delta Salvador for studying advertising, while Anna Saint-Jean, a Ceratian girl at the time, was a tape with an unpublished song that Caraudi composed when they were together, whose Melody recalled "Your madness ", which he later recorded in his solo career. The conversation then became an aesthetic obsession of the group since its founding, complemented with vintage photos and a testimony to the Cerati file, which among laughs admits: "We were a comb and three people."
Gustavo Cerati and the birth of his daughter Lisa, in a video that remained unpublished
A visit to Marabou, where Soda Stereo gave its first shows, together with Adriani Taverna, a historic trio speaker, serves as a starting point for a quick overview of the group's growth. The rotating rhythm does not allow it to focus on specific periods, but there is plenty of unpublished material, such as emission images during Sodamania, dress recordings or crossing from one destination to another, and a new testimony by Cerati in which he acknowledges that in the the time of that explosion, he had attempted to separate the band into a tired peak at the airport in Costa Rica. The success of Doble's kind and his subsequent presentation in Buenos Aires leads to the recording of the "Animal Song" in the United States, recording the leader of the guitar group "Entre Caníbales" and "One million light-years". You can also see how the incorporation of Melero generates symbiosis with Cerati and friction with his colleagues, which encourages his next move in Chile, by recording
Yellow love and the birth of his son Benito as the pillars of the new era.
This search for a new horizon also functions as a prelude to the separation of Soda Stereo. Chaotic and uninspired show at the Ferro Alternative Festival and the arrival of his daughter Lisa are the preamble of
The last concert, at the River Stadium, in 1997. After the failure of his period in charge of the electronic project Plan V, Leo Garcia makes his interpretation of the genesis of
Bocanada and tells how many verses were inspired by the book "The Seven Spiritual Laws of Success" by Deepak Chopra.
The trailer of the documentary that they presented last night and which can be seen in Flow and On Demand of Cablevisión
Reducing the time line of the places as protagonists Benito and Lisa to highlight Ceratti's most intimate side: his aspect as a father. Images of games between home, family holidays in San Martin de Los Andes and an acid house house that the oldest of his children recorded with him at the age of five appear.
It is true Benito, who analyzes how Cerati decides to return to rock guitars. "He was frustrated that he was getting things that, although he did what he wanted, does not do it so well," indirectly refers to the transition of
It's always today a
There we go.
From the success of his fourth solo album to the operative return of Soda Stereo, the level of secrecy in which it was conceived, and the difficult negotiations that Daniel Cohn's manager was to maintain with the three members of the band, so that they would be a clause regarding clauses of the agreement that they will end with the signing. The health of the author of "From Light Music" gives the first alarms when the thrombosis forced his doctor's warnings to repeat on that tour, although, according to Garcia himself, "he decided to live in full and take responsibility for the consequences."
With the images from the last show for the return of the screen "Soda Stereo" (and mentioning a few conversations and discussions to seal the problems and injuries they are waiting for), Charlie Alberti announced the statement that among the three musicians did not suggest the ending end of his story: "We said:" Let's stop now, "and every four or five years we send a tour to them, we had a spectacular time, we made a record, and then everyone continues with his own, which is what remains." Following the rhythm of the plan, what follows is the shooting of Fuerza Natural, his last studio album and the only one detailed in Bios. Everyone involved points out how Cerati felt a special relationship with the present and here and now, something that the musician expands from an interview in which he says: "There by age, the sum of miles in life, you need to enjoy your trip each time and enjoy more moments. " This is proven by footage from the tour tour to present the album, and the air of commerce keeps him with his musicians.
A fragment from his last show in Caracas and behind scenes from the picture he took with his band when he finished playing (and while he was already experiencing the first symptoms of ACV that became his death four years later) is an overture at the end of his story, in which Bossio and Alberti detail their final encounter with him at the Alkla Clinic, and where you can appreciate the enormous integrity that Lillian Clark has gone through for those four years.
As a closure, his family and his musicians meet at Unison to interpret a version of "Natural Force" that changes between the fragments of the original. The use of editing and shades of images plays to give the impression that Cerati is present with them in the studio, one of the greatest achievements of the documentary.
Even with severe time cuts (his electronic projects, the shooting of Dinamo, Suneo Stereo and most of his solo discography) and the failure of key testimonies (Richard Coleman's absence is noted in the story), Bios keeps emotional value to open the gap in the dynamics of the figure with a talent as great as the secrecy with which he succeeded in his private life.