Argentine Competition

THE TWELVE SACRED CRIES

Here they are! The twelve feature films represent our present cinema. It is a selection of the best national films of the current years competing for the Best Argentine Feature Film award. Vicious and dark narrations, exquisite documentaries, authentically local dramas and stories loaded with a huge dose of imagination. From feature films by renowned artists to first films by the new generation of directors, here they are, so come along and enjoy them!

 

A Trip to the Moon, by Joaquín Cambre

Joaquín Cambre’s cinematographic debut is a risky work on the juvenile universe and the ways to inhabit it: friendship, isolation, parties and school fears. As in a circus of simulation, dialogs over dinner, vacation planning and fraternal relationships can be the visible face of a sinister familial depth that can end at the bottom the minute everything falls apart. A Trip to the Moon is a vertiginous visual plot where insanity is taken as an adventure.

 

 

Everything I See Is Mine, by Mariano Galperín and Román Podolsky

In the life of Marcel Duchamp, Buenos Aires was not more than a European like and sexist parenthesis. Everything I See Is Mine portraits, lucidly and genuinely, the time spent by the French artist in Argentina at the beginning of the last century. In a very organic black and white, the duo Galperín-Podolsky displays aesthetics and a poetic narration that manages to bring to life the inner artistic universe of Duchamp in every shot. His visit to a strange city and his being puzzled by the “porteño” customs amalgamate with his genius spirit and his rejection to conventionalism. In Everything I See Is Mine, the shape is the message and an hypnotic narration manages to deconstruct the world from the point of view of the father of conceptual art.

 

 

I Am Here (Mangui Fi), by Juan Manuel Bramuglia and Esteban Tabacznik

This documentary presents the life of Ababacar and Mbaye, a couple of Senegalese immigrants living in a calm yet intense Buenos Aires that is lighted by the other’s perspective. Manuel Bramuglia and Esteban Tabacznik register these young hawkers that, as a couple of 21st century flâneurs, walk the city, share their miseries and question the identity issue. Nostalgia, alienation and cultural differences get intertwined with the modern nomadism of those who leave their motherland in the search for new opportunities.

 

 

Terrified, by Demián Rugna

Filmmaker Demián Rugna's triumphant comeback to horror exploits all of the genre’s resources to tell a story of supernatural dimensions taking place in the outskirts of Buenos Aires city. Disturbing symbols, impossible sounds and the homecoming of the dead; the materialized horror which existence the human being needs to deny to stay sane.  With a superb technical quality and a highly precise staging, Terrified positions itself as the new exponent of the revival of the Latin American genre.

 

 

The Scourge, by José Celestino Campusano

Campusano delves in the crude conditions of the youth detention centers. Carlos, a social assistant, works in this context of youngsters that are excluded from society. He is a man who puts his own life aside to devote to the well-being of the “pibes”. After treating the topic of the lawless world of the Argentine Patagonia in The Sacrifice of Nehuen Puyelli, Campusano makes it clear that his cutting perspective is as sharp as a scalpel when it comes to putting the finger in the sore spot.

 

 

Pool Sweeper, by Jorge Leandro Colás

Jorge Leandro Colás ventures into fiction with Barrefondo, an adaptation of Félix Bruzzone's novel, which tells the story of Tavo, a pool boy working at a gated community in the suburbs of Buenos Aires. WIthout abandoning its documentary perspective -approaching the characters through a sensitive camera-, Colás dives into the daily lives of those who spend their time witnessing how rich the others are. Frank and realistic, the film digs into the moral questions of a protagonist who has to face his own ghosts and the dilemma life shows him. Starred by an accurate Nahuel Viale in the role of Tavo, Barrefondo dares to show a reality that does not seem to be the exception but the rule.

 

 

Réquiem para un film olvidado, by Ernesto Baca

As if it were a cinematographic encyclopedia, but an ideal autobiography as well, “super eight-ist” Ernesto Baca's last film questions the end of global celluloid production and presents a mordant perspective about the cinematographic panorama. A hybrid between documentary register and the most explicit form of fiction -featuring actresses Pilar Boyle and Susana Varela-, Baca works in front and behind the cameras to make the spectator become a witness through an audio visual journey with the spirit of a manifesto.

 

 

Soldado, by Manuel Abramovich

Manuel Abramovich closely analyses the idle time in the life of recruit of the Argentine Army.  In formal dialogue with his previous work -The Queen, specially, as regards treatment and staging-, the director takes a singular case to deal with the general panorama of the military institution and its role in the midst of the 21st century.

 

 

The Bums, by Gustavo Biazzi

The evolution of a group of friends in the last stages of adolescence is the main topic  in Gustavo Biazzi's cinematographic debut. The transition to adulthood is explored through a lenses that is free from prejudice and the clear influence of his previous work as director of photography in terms of aesthetics. Biazzi makes a feature film that, through the point of view of the protagonist, incarnates that phrase by Vinicius de Moraes: “the most beautiful thing in the world is to live each second as if it were your last.”

 

 

The Centaur’s Nostalgia, by Nicolás Torchinsky

In the remote lands of the Argentine Northwest, between deep dark nights and eternal landscapes, director Nicolás Torchinsky dives into the daily life of an elder couple to reveal and intimate and sensitive experience. Through an intuitive evolution, the documentary assumes the position of a faithful portrait of a whole life, captured exclusively by the eye of the beholder.

 

 

The Corroborators, by Luis Bernárdez

Through an effective architectonic thriller, Luis Bernárdez finds a very original way of delving into the Argentine identity from the buildings made in Buenos Aires at the beginning of the last century. The corroborators are a group that takes Paris’ architecture as a model, a lodestar and a guide when it comes to construction and building a nation. This secret society -part myth, part reality- goes beyond film shots and outlines a metropolis that mirrors The City of Light. With fictional intervention, Bernárdez’ documentary points at history's shadows as a method to revisit Argentine idiosyncrasy, always hungry for myths and grandiloquence.

 

 

Until You Untie Me, by Tamae Garateguy

Desire is irresistible. Whatever its nature is. If there's something we are used to when it comes to Tamae Garateguy's cinematography, is his using cinema to provoke. Until You Untie Me is part of his eager search for new narrative ways, always pushing all the limits. And he scores again. The spectator is dragged by a fascinating chiaroscuro where the pulse of life and the pulse of death get constantly intertwined. A woman and a man meet in circumstances where death, sex and perversion chase them as a relentless mantra. And the result is superb. Along with the intense performance of Martina Garello and Rodrigo Guirao Díaz, Tamae displays his magic in the Festival's screens again.

 

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