La mochila perfecta (2014)
A German ecologist and her daughter, who lives in Argentina, meet in Cuba to make a documentary about snails.
Escenas en el mar (2012)
On a calm winter afternoon, the filmmaker goes out with her tripod to film the sunset at sea.
Sip'ohi, el lugar del manduré (2011)
Gustavo Salvatierra returns to his hometown, Sipo'hi, in the impenetrable forest in the north of Argentina, with the aim of listening and collecting stories of wichí culture.
By Alejo Franzetti
BIO
Alejo Franzetti was born in Buenos Aires in 1985. He studied at the Universidad del cine (FUC), where he directed several films, including “The Contrabass” and “Two experiences in the forest”. He then moved to Berlin, where he studied at the University of Arts, and started developing a new film, which will be completed soon. He is also part of the group that organizes INVASION, a festival of Argentinean films in Berlin.
There’s a pending objective, an important problem in Argentinean Cinema that can be summed up in one word: promotion. Movies are (supposedly) made to be seen, not to merely go around festivals. This is not a particular problem of national films that can’t find a screen to be shown, but one of cinematographic culture in general. There’s no proper exhibition circuit in Argentina where spectators can access international films that are not produced in Hollywood. It’s censorship, an economic one at that.
Utopia Number 1: A circuit of small venues devoted to national and international premieres. Theaters for 200, 100 spectators (or even less), that don’t require a lot of maintenance, but have good quality of image and sound. One or two theaters per province, subsidized by the National Film Institute (INCAA) and the Culture Departments of each province. Small theaters in which the international and national films that sell out during BAFICI and Mar del Plata Film Festival can premiere. Small theaters that small distributors can negotiate with without suffering any extortion or injustice.
Utopia Number 2: The awaited creation of the National Cinematheque. A visit to our Mexican (www.cinetecanacional.net), Brazilian (www.cinemateca.gov.br), or Uruguayan brothers (www.cinemateca.org.uy) is enough to make us understand that this is an absurd absence, and that it’s a dream that can be achieved.
But while we wait to be heard, Cinemargentino proposes an effective solution. Apart from the obvious quickness and simplicity of watching movies by ourselves at home, anytime and everywhere, I like to think of its potential use in relation to the cinematographic experience. What is (was) a cinema? A dark room, a blown-up image, a few reliable speakers, a certain number of spectators. That experience that allows a giant head (a close-up) in the darkness to address us. And the possibility, after the screening, to discuss with someone what we have just seen.
In Cinemargentino, the movies are there: they only need to be shown. Why not get together in our living rooms, borrow a projector from school, find some good speakers and screen small programs? Directors and producers have released their films through this platform to favor exhibition. There are enough features and short films for us to start programming our own festivals. This is an invitation to browse through the interesting variety that Cinemargentino offers.
The Other, The Same
The Other, The Same
Tired Death
Tired Death
Dead Youth (2010)
Since the end of the 90's, more than thirty teenagers took their lives in a southern town of Santa Cruz. This film evokes their existences, trying to examine the emptiness and mystery that sorrounded their lives and deaths.
La mosca y sus peligros (1920)
A series of frightening images demonstrates how the fly manages to transmit all kinds of diseases.
Two nights, Two Visits, Four Shorts
Two nights, Two Visits, Four Shorts
Constitución (2013)
The neighborhood of Constitución in the city of Buenos Aires is portrayed out of characters that bring life to a railroad gym, Domincan hair salons, and a nearby bar.
Constitución (2013)
No insides and outsides. The margins do not exist. Constitution is an intensive burst which does not seek individuals and forms, but seeks the different speeds and slownesses.
Árboles y arbustos (2004)
"(...) Evergreen, up to 20 meters tall. Straight trunk, dark, hardly cleft, thin bark; rounded, generous, dense, obscure, bright green,..."
Vaudeville (2004)
17 doors, 27 characters, one night. One night with 17 characters in 17 doors. 27 characters travel through 17 street doors in one night.
The Divine Documentary Comedy
The Divine Documentary Comedy
Opus (2005)
In July 2002, an American Producer comissions director Mariano Donoso a documentary on the state of Education in San Juan, the province where he was born. On the first day of filming, a teachers’ strike begins, paralyzing classes in the whole province, and – indirectly – the film itself.
Alabanza a la papa (2004)
What do Eva Perón, Victor Grippo, an American tourist and poet Arturo Basanta from Catamarca have in common? They’ve all passed through the valley of Traslasierra and became victims of the tubercle that obsesses the inhabitants of “Villa Dolores”: the solanum tuberosum, also known as “potato”.
Frozen Music
Frozen Music
What are you now? (2011)
This story recovers the happy years of band "Pequeña Orquesta Reincidentes", the songs, and the voices of those who don't forget, because they still carry them in their hearts.
The House (2012)
This is a surreal tale about strange happenings in an abandoned house. The voiceover becomes the thread of the story in an incredible and lonely place. It's up to you to recreate the actions and characters narrated there.
Implantation (2011)
Someone finds what seem to be the remains of a city that used to be peaceful and stunning. That triggers a story shaped as a surgical travel tale.
The Mystery of Conflict
The Mystery of Conflict
A recurring dream (2013)
Ignacio has the same dream every night. This dream is destroying everything from the inside of his mind: his job, his romance, his personality, his world.
One day every day (2012)
A tedious day in the country. A chaotic day in the city. The relation between both stories becomes complicated as sound and image begin to diverge.
The crimes (2011)
A cop tells the story of an old case. A young widow, a sleepless business man, a horse left out in a stable. The city as the setting of a trap.
La vuelta al bulín (1926)
This film is a vehicle for comedian Álvaro Escobar to display his talents. He plays a fool that thinks highly of himself, taking advantage of some of the stereotypes or the inhabitants of La Boca, a picturesque neighborhood by the river.
