Editor
As it tends to happen in almost every field in Argentina, the official film history is still far from having a federal representation. Its heroes are either from Buenos Aires or have developed their career there, and until recently, no one asked themselves what happened beyond it. This documentary brings back one of those ignored fragments through the figure of Carlos Procopiuk, a man who inhabited, like nobody else, the ethics and aesthetics of a cinema made in a rabidly independent way. An all-terrain character who acted, wrote, produced, edited, directed and taught his community, in Neuquén between the 1950s and the 1990s, how to make films. With the memory still fresh and the eloquent images from his works, the documentary by Diego Lumerman settles a small part of that inestimable debt that Argentine film has with its history.
Editor
에르네스토는 아르헨티나 코르도바의 한 아파트에서 7마리의 개와 함께 살고 있습니다. 그의 외로운 일과는 그의 애완동물의 필요성, 건강 문제, 그리고 돈 문제를 중심으로 전개됩니다. 그의 이웃들은 조정 청문회를 준비하고 그에게 아파트에서 애완동물을 데리고 나가라고 촉구합니다. 에르네스토는 그의 개들 없이 살기를 원하지 않고, 그는 다른 곳으로 이사할 여유가 없습니다.
Assistant Editor
During a carnival, near the border between Argentina and Bolivia, a young Malambo dancer prepares for the most important competition of his life. When his ex-felon father returns, he jeopardizes everything by dragging his son into the criminal world.
Editor
Editor
22살 여자와 23살 남자는 도시 외곽 출신이다. 여자는 마약 밀매를 하며, 남자는 주거 침입으로 감옥에 있다. 감옥 면회와 사랑, 섹스가 대도시 부에노스아이레스에 뒤섞여 있다. "개구리들"은 쇠창살 뒤 감옥 안에서 사랑을 찾는 여자에 대한 이야기이다. (제22회 전주 영화제)
Editor
Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.
Director
