Director
“The lakes, their rounds palms, they drowned the face of the Sky:
I have turned the sphere to look at the Sky". Victor Segalen. Estelas
Editor
A couple builds a space to live. When it is finished, before inhabiting it, they invite a group of people to visit it. The invited people circulate individually through this new and empty space. They look, they walk, they talk. The film tries to rescue the effect of that experience in each one of them. So the space itself becomes an experience. What will they leave of themselves? What will they take? What will they show of the human? What is a house? What do you do with the past? The series of people who briefly inhabit that place, recently built, still free of all traces, could be thought of as infinite. The space fills and empties. The residual of that transit remains: a luminous fragility.
Editor
"Several times a day, for many months, I went out to the terrace of my house to look at the terrace next door, which is the terrace of a nursing home. I went out as soon as I got up and before going to bed, as in a ritual. And soon, over the course of the weeks, I went out several times a day to look at that space, a window between two concrete blocks, a mysterious door, the light on the ceilings." (Gustavo Fontán)
Editor
"During several months of this senseless year I went out to the terrace to look at the ceilings. I would go at different times of the day, as in a ritual, perhaps trying to find at those ceilings some kind of explanation. Something that mitigates grief." (Gustavo Fontán)
Editor
Mónica no realizó unos pagos de un cliente de la oficina en la que trabaja. Los quince mil pesos que faltan no solo la comprometen a ella sino también a un compañero, que es quien descubre la falta. Parece que no es la primera vez, pero el compañero, a pesar del enojo, conserva el silencio y vuelve a creerle: Mónica se compromete a reponer la suma de dinero a la mañana siguiente.
Editor
The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?
Between two rains, a film that is offered as a newspaper. Rains. It is night. The rain coils like a snake in the street lanterns. A neighbor, old lady, knocks on my door. It's eleven at night. She is desperate, ask for rivotril. A few days later he dies. Someone leaves their house. Objects are loaded coldly in a truck. The death of a neighbor, a move, the skies laden with clouds, the light on things and faces, the operation of an old man, a night trip ... It rains. The trees shake and tremble underwater. Between two rains, a look at human fragility.
Director
A Mario Bocchicchio Super 8 short film.
Director
A Mario Bocchicchio and Maximiliano Sans Super 8 color short film.
Director
A Mario Bocchicchio Super 8 short film.
Director
A Mario Bocchicchio Super 8 short film.
Editor
En la casa que habitaron varias generaciones ya no vive nadie. Al menos en apariencia. Porque si uno agudiza el oído y la mirada, ve. Ve las huellas de aquellos que la habitaron. Ve las marcas de la vida y de la muerte en los espacios abandonados. Es testigo de la persistencia de voces, de cuerpos, de luces y de sombras.
Editor
The poet Salvador Merlino didn’t live to see published April’s elegy, his last book, as he died when
it was still in the printing press. His daughter Mary (72) and his son, Carlos (74), kept the parcels of
copies of their father’s book stashed away for 50 years, high up, on top of a wardrobe. The curiosity
of young Federico will force them to come face to face with themselves.
Editor
Incursión del director Gustavo Fontán en la obra del poeta Juan L. Ortiz. Se trata de un homenaje al gran escritor entrerriano, que retrata las palabras, la cadencia del discurso y la mirada del poeta. Tomando como referencia los versos de Juan L. Ortiz, la película propone la recuperación del asombro por lo cotidiano a través de detenerse en los pequeños elementos naturales.
Director
La Costanera Sur de la Ciudad de Buenos Aires, como la mayoría de las costas de las “grandes” ciudades del mundo, presenta una arquitectura similar que tiende a homogeneizar los espacios, evitando cualquier diferencia edilicia y por ende histórica y geográfica en función de la acumulación bruta de capital y una idea de mundo que expulsa lo diverso. Dos amigos de distintos países se mandan mensajes de WhatsApp, que muestran la perplejidad de ambos ante la similitud de los espacios.
