Nicolás Zukerfeld

Nacimiento : 1982-12-30, Buenos Aires, Argentina

Películas

Una habitación llena de polvo
Writer
Agustín, un dibujante de historietas, no quiere seguir dibujando. Quizás sea un hombre sin talento, o sencillamente no tiene ganas. Un día sueña que se mete en la casa que compartía con su exnovia. Ese mismo día quiere comprobar si todo sigue allí, tal como lo dejó.
Una habitación llena de polvo
Director
Agustín, un dibujante de historietas, no quiere seguir dibujando. Quizás sea un hombre sin talento, o sencillamente no tiene ganas. Un día sueña que se mete en la casa que compartía con su exnovia. Ese mismo día quiere comprobar si todo sigue allí, tal como lo dejó.
El Mago, El Hijo y La Detective
Secuestrador de M
Un joven aprendiz de magia se une a una detective encomendada para resolver el crimen de su padre, un famoso mago y estafador.
No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo
Editor
"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF
No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo
Writer
"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF
No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo
Director
"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF
Una película hecha de
Screenplay
En Vigo, España, durante las fiestas navideñas, Ángel, un cineasta español, camina por las calles atestadas de gente mientras piensa en una posible película hecha de…
Una película hecha de
Director
En Vigo, España, durante las fiestas navideñas, Ángel, un cineasta español, camina por las calles atestadas de gente mientras piensa en una posible película hecha de…
Y ahora elogiemos las películas
Writer
A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.
Y ahora elogiemos las películas
Director
A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.
El invierno llega después del otoño
Writer
Pablo pasa el otoño entre libros usados, celulares ilegales, fiestas, cocaína y llamadas equivocadas. Su ex novia, Mariana, disfruta del invierno mientras divide sus días entre los exámenes universitarios, dealers de drogas duras, azarosos reencuentros con parejas amigas y un nuevo novio.

El invierno llega después del otoño
Director
Pablo pasa el otoño entre libros usados, celulares ilegales, fiestas, cocaína y llamadas equivocadas. Su ex novia, Mariana, disfruta del invierno mientras divide sus días entre los exámenes universitarios, dealers de drogas duras, azarosos reencuentros con parejas amigas y un nuevo novio.

Didascalias
A city department is the scene of confluences of relationships, where the intimacy of a couple and the public sphere of work are confused and converge.
Dios bendiga a los niños y a las bestias
Editor
Gaspar has his first date with Manuela. Gaspar likes Manuela. Manuela doesn't like Gaspar very much, but she likes that Gaspar likes her. They talk about the things that are usually talked about on first dates
Dios bendiga a los niños y a las bestias
Director
Gaspar has his first date with Manuela. Gaspar likes Manuela. Manuela doesn't like Gaspar very much, but she likes that Gaspar likes her. They talk about the things that are usually talked about on first dates
Cómo Estar Muerto/Como Estar Muerto
Writer
Un joven decide autosecuestrarse. Escapa de la escuela y se encuentra con dos amigos que desconocen su plan. Pasan todo el día vagando por el centro de Buenos Aires. Finalmente, el joven abandona a sus amigos en un tren mientras éstos duermen. El joven, solo, deambula por la ciudad a través de la noche. Las cámaras de seguridad vigilan la ciudad, pero el joven desaparece.
A propósito de Buenos Aires
Writer
Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.
A propósito de Buenos Aires
Director
Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.
Safo
Director of Photography
A remake of the 1943 film of the same name.