★★★ One of the most desired vocations among children is to be a firefighter. Perhaps it is because his image is associated with heroism and selfless service to others. The truth is that it is an indispensable, noble and humanistic profession, which helps to protect the community, advising and instructing the inhabitants on the importance of safety and fire prevention. They not only fight against fires in the cities, but also actively participate in forest emergencies, road or railway accidents and even help rescue people during floods. They are constantly at risk, defying death in every action they must attend to.
Numerous fictions have been dedicated to rescuing the figure of the firefighter or firefighter. From the American catastrophe cinema with the well-remembered mega-production “Inferno en la torre”, to the Russian “Against Fire” and the Chinese “La torre del infierno”. The film and series platforms also bring us stories that show the passion and dramatic situations they experience, day by day. “Under fire”, “Chicago on fire”, “Station 19” or “911”, are worthy examples of this trend.
But the theater has not dealt with reflecting this world so attractive. That is why “We are firefighters” is doubly welcome, the piece by the young Argentine playwright, actor and director Francisco Lumerman that proposes, in its foundations, a review of certain macho behaviors and what is historically intended for men in society.
In the plot, with a surprising ending, after a fire in a pool where the owner dies and a new incident at the barracks, the members of the brigade see their daily routine altered. The boss decides to summon a psychologist to carry out a dynamic therapy that manages to unblock the trauma they suffer. The therapist will have to face the resistance of the group, and we will discover that each man has a different personal problem. “It seems that so much fire burned their heads,” bellows the ex-wife of an officer who has problems with alcohol consumption. Álvarez is addicted to sex, Domínguez suffers from panic attacks, Nando, the youngest of all, suffers from asthma and is teased by a classmate.
In a homogeneous cast, well directed by Maite Velo, Luciana Monasterio, Juan Zuluaga, José Escobar, Ivan Vitale, Daniel Begino and Juan Trzenko stand out, the latter two historical members of that hotbed of artists that is Andamio 90.
