María Aparicio

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Collective film made from digitalized footage from the collection of Argentinian nitrate films of the Museo del Cine Pablo Ducrós Hicken, made on the occasion of its anniversary.

Ernesto lives with his seven dogs in an apartment building in the city of Córdoba, Argentina. His lonely daily routine revolves around his pets' needs, his health problems and his money problems. His neighbors arrange a mediation hearing and urge him to take his pets out of the apartment. Ernesto does not want to live without his dogs, and he cannot afford to move elsewhere. Thanks to the empathy of people who are also lonely, but every day share common spaces that connect them, Ernesto finds a way to solve the conflict.

The echoes of Jorge Bonino resonate in the spaces he inhabited, and his presence becomes imaginable from the stories that tell it. A body that exploded into a thousand pieces scattered across territories and affections that speak of him as someone capable of turning life into an extraordinary game.

After being unemployed for several months, Hernán attends a job interview to apply for a position in a call center.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.