Natalia Oreiro entered the dispute over national cinema between Francella and Pablo Echarri

The discussion about the direction of national cinema added a new voice: Natalia Oreiro's. Amid the exchange between Guillermo Francella and Pablo Echarri —two actors who represent very different positions on what kind of cinema should be promoted in Argentina—the Uruguayan actress, with a well-established career in both TV and film, chose a conciliatory approach, although with clear definitions.

The actress attended the premiere of La mujer de la fila, Benjamín Ávila's new film, and was asked by the media about the controversy sparked by Francella's and Echarri's statements.

"I celebrate that everyone can express themselves, whether one agrees or not," she began, distancing herself from the confrontational tone adopted by other national cinema figures. However, she then clarified her view:  "I don't believe that a film's success lies in the number of viewers who go to see it."

Oreiro noted that she likes making popular, high-impact films, but she also considered auteur cinema "necessary." "Both types of cinema must coexist," she summarized, and even highlighted the importance of debut films and independent cinema. That is, although she didn't fully align herself with Echarri's discourse, she made it clear that not everything should be measured by market logic.

What did Guillermo Francella say that caused such a stir?

Actor Guillermo Francella was very critical of certain national cinema produced with state funds but that fails to attract audiences. "There is some highly awarded cinema, but it turns its back on the public. Only four people go, not even the director's family attends," he said ironically on Olga channel. He added: "They're works of art, but they don't represent anyone."

The comment was celebrated on social media by thousands of users who question that, for years, films have been subsidized that only served as ideological vehicles or platforms for political favors, without box office results or real impact on the public.

Without directly naming Echarri—one of the figures most identified with cultural Kirchnerism—Natalia Oreiro distanced herself from the idea that cinema should be a partisan tool. "Reducing an artistic event to a political movement is very simplistic," she stated, and suggested focusing on "doing things that move and connect."

At a time when much of the cultural industry is seeking to adapt to new forms of financing and production—more linked to public interest and not so much to state subsidies—the actress suggested not underestimating the audience. "I would never tell the public that they have to watch a film because of its ideology. Art is not that, cinema is not that."