Germán Scelso

In 1976, while he was taking his grandchildren to school, a businessman was kidnapped by a guerrilla organization. Two months later, the army broke into the house in which he was being held captive in order to release him. That same day, one of the guerrillas was abducted and disappeared by the civic-military dictatorship. Decades later, the director of this film, and the son of that guerrilla man, meets to talk with the businessman’s son and grandsons. The Businessman is made up of talks, but also of magazines, poster, flyers, photographs, newspapers, ads, home movies and objects that are also the testimony of a time; its editing makes personal memories intertwine with the story, and in it, the question of the relationship between who’s filming and who’s being filmed becomes inescapable.

In 1976, while he was taking his grandchildren to school, a businessman was kidnapped by a guerrilla organization. Two months later, the army broke into the house in which he was being held captive in order to release him. That same day, one of the guerrillas was abducted and disappeared by the civic-military dictatorship. Decades later, the director of this film, and the son of that guerrilla man, meets to talk with the businessman’s son and grandsons. The Businessman is made up of talks, but also of magazines, poster, flyers, photographs, newspapers, ads, home movies and objects that are also the testimony of a time; its editing makes personal memories intertwine with the story, and in it, the question of the relationship between who’s filming and who’s being filmed becomes inescapable.

In 1976, while he was taking his grandchildren to school, a businessman was kidnapped by a guerrilla organization. Two months later, the army broke into the house in which he was being held captive in order to release him. That same day, one of the guerrillas was abducted and disappeared by the civic-military dictatorship. Decades later, the director of this film, and the son of that guerrilla man, meets to talk with the businessman’s son and grandsons. The Businessman is made up of talks, but also of magazines, poster, flyers, photographs, newspapers, ads, home movies and objects that are also the testimony of a time; its editing makes personal memories intertwine with the story, and in it, the question of the relationship between who’s filming and who’s being filmed becomes inescapable.

In 1976, while he was taking his grandchildren to school, a businessman was kidnapped by a guerrilla organization. Two months later, the army broke into the house in which he was being held captive in order to release him. That same day, one of the guerrillas was abducted and disappeared by the civic-military dictatorship. Decades later, the director of this film, and the son of that guerrilla man, meets to talk with the businessman’s son and grandsons. The Businessman is made up of talks, but also of magazines, poster, flyers, photographs, newspapers, ads, home movies and objects that are also the testimony of a time; its editing makes personal memories intertwine with the story, and in it, the question of the relationship between who’s filming and who’s being filmed becomes inescapable.

In 1976, while he was taking his grandchildren to school, a businessman was kidnapped by a guerrilla organization. Two months later, the army broke into the house in which he was being held captive in order to release him. That same day, one of the guerrillas was abducted and disappeared by the civic-military dictatorship. Decades later, the director of this film, and the son of that guerrilla man, meets to talk with the businessman’s son and grandsons. The Businessman is made up of talks, but also of magazines, poster, flyers, photographs, newspapers, ads, home movies and objects that are also the testimony of a time; its editing makes personal memories intertwine with the story, and in it, the question of the relationship between who’s filming and who’s being filmed becomes inescapable.

Luis Alberto Quijano declared himself a witness in the “megacase” of La Perla for one of the worst crimes against humanity in the province of Cordoba during the last military dictatorship in Argentina. El hijo del cazador follows Quijano’s life story.

Poetic and political portrait of the city Córdoba in Argentina.

Poetic and political portrait of the city Córdoba in Argentina.

In November 1974, the Principal of a small school in Santiago was kidnapped and taken to a detention centre by State agents, who accused her of belonging to the Revolutionary Left Movement (MIR). Her account, more than a memory of her stay in a clandestine centre, is focused on the impossibility of narrating an experience like this. The torture experience is inaccessible. There are no images or words which can represent it.

In November 1974, the Principal of a small school in Santiago was kidnapped and taken to a detention centre by State agents, who accused her of belonging to the Revolutionary Left Movement (MIR). Her account, more than a memory of her stay in a clandestine centre, is focused on the impossibility of narrating an experience like this. The torture experience is inaccessible. There are no images or words which can represent it.

Jordi has his arm and leg almost paralyzed, and shows his disability to beg for money on the streets.

Laura ans María Luísa are from the same generation but from sifferent social positions. The documentary tells the story of two women that suffered the disapearance of their child during the last militar dictatorship, one of them had the luck of recoup her daughther but not the other one.