Nicolás Prividera

Nicolás Prividera

出生 : , Buenos Aires, Argentine

略歴

Degree in Communication (UBA), and graduated from the Argentina National School of Cinema (ENERC), where he currently works as a teacher. He has directed two films features: "M" (2007, award for best Latin American film and prize FIPRESCI at the Festival de Mar del Plata, as well as also the Runner Up Prize at the Festival of Yamagata (Japan), the prize for best documentary at the Mostra of Lleida and a special jury mention at the Festival of Gijón (Spain), as well as participating in numerous international festivals of cinema (New York, Vienna, Hamburg, Havana, Mexico, San Pablo, etc). "Fatherland" (2011), was presented at the Toronto film festival, and after passing through several of the aforementioned festivals obtained the mention of FIPRESCI Argentina to the best national release in 2012. He published the book "The Country of Cinema. For a political history of the new Argentine cinema".

プロフィール写真

Nicolás Prividera

参加作品

A Farewell to Memory
Cinematography
A father who has lost his memory. A son looking for home movies that his father filmed. And among them, the impossible memory of the missing mother
A Farewell to Memory
Writer
A father who has lost his memory. A son looking for home movies that his father filmed. And among them, the impossible memory of the missing mother
A Farewell to Memory
A father who has lost his memory. A son looking for home movies that his father filmed. And among them, the impossible memory of the missing mother
A Farewell to Memory
Director
A father who has lost his memory. A son looking for home movies that his father filmed. And among them, the impossible memory of the missing mother
I shot Antoine Doinel
Screenplay
A film buff does his generational autobiography by relating the problems of maturity in contemporary cinema to the character of Antoine Doinel. When he learns that the actor who played him is coming to visit his city, he makes a drastic decision.
I shot Antoine Doinel
Director
A film buff does his generational autobiography by relating the problems of maturity in contemporary cinema to the character of Antoine Doinel. When he learns that the actor who played him is coming to visit his city, he makes a drastic decision.
Archivos intervenidos: Cine Escuela
Director
Fatherland
Director
Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.
m
Cinematography
Close to achieving the same age as her mother when she was kidnapped in 1976, the film director began an intense investigation that leads him to meet with old colleagues and militants close to his mother. In this search, new questions arise, misunderstandings, silence, and complicity.
m
Producer
Close to achieving the same age as her mother when she was kidnapped in 1976, the film director began an intense investigation that leads him to meet with old colleagues and militants close to his mother. In this search, new questions arise, misunderstandings, silence, and complicity.
m
Director
Close to achieving the same age as her mother when she was kidnapped in 1976, the film director began an intense investigation that leads him to meet with old colleagues and militants close to his mother. In this search, new questions arise, misunderstandings, silence, and complicity.
PPP
Director
Premiered in the framework of Bafici, Seized Files: Film School is the second collective feature sponsored by the Museum of the Cinema of Buenos Aires, this time with propaganda series produced during the fifties, aimed at a young audience also protagonist of them. The more re-concentrated nature of materials, less heterogeneous than events intervened "first project use old newsreel "Sucesos Argentinos"", makes that the movie has a more cohesive character on the back and return of the same images, flowed through various searches of each Director, creating different looks and uses. In this case, the director wanted to out his 'intervention' in all senses of the word, just like Prividera's previous feature films. In fact, in these few minutes is both using the file how in the beginning of Fatherland (2011), and the intertitles deployed on M (2007), in base a quote it reconsiders those old images and words looking for its resonance in our present.