Jonathan Perel

In Camouflage, writer Félix Bruzzone embodies a runner who has an obsession with Campo de Mayo, the biggest military unit in Argentina. It is also the place where his mother disappeared in 1976 and the main clandestine center of detention, torture and extermination during the last dictatorship. The film will follow Félix as he finds characters that allow him to enter and explore this place so loaded with history.

In Camouflage, writer Félix Bruzzone embodies a runner who has an obsession with Campo de Mayo, the biggest military unit in Argentina. It is also the place where his mother disappeared in 1976 and the main clandestine center of detention, torture and extermination during the last dictatorship. The film will follow Félix as he finds characters that allow him to enter and explore this place so loaded with history.

In Camouflage, writer Félix Bruzzone embodies a runner who has an obsession with Campo de Mayo, the biggest military unit in Argentina. It is also the place where his mother disappeared in 1976 and the main clandestine center of detention, torture and extermination during the last dictatorship. The film will follow Félix as he finds characters that allow him to enter and explore this place so loaded with history.

고고학자와 무기 디자이너가 네게브 사막의 고고학적 발굴 현장에서 만나, 사랑과 전쟁에 관한 토론을 시작하고 그들의 대화는 이스라엘 베르셰바에서도 이어진다. 마치 춤과 같은 이야기가 아테네, 베를린, 홍콩 그리고 상파울루로 관객들을 데려간다.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.

Adolfo Scilingo was the only military officer to confess the crimes of the dictatorship that ruled Argentina from 1976 to 1983. Among the genocide practices described were the death flights -- the dropping of tortured living prisoners into the Río de la Plata or the Atlantic Ocean. Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras belonging to the Argentine Navy, only the three bought in 1973 could have been used in the flights that Scilingo describes. Those planes are at present in Argentina. This film searches cartographically the traces of those planes.

From toponymy, a branch of linguistics, to politics, the links can be quite unexpected. These are which are sought to be revealed in the new fi lm by Jonathan Perel who uses his filmwork as a tool to explore and accurately document the marks left by previous dictators of Argentina. We are in the province of Tucuman, in the north of Argentina, an emblematic region where the fi rst Act of Independence in South America was signed in 1816 and where the “Operation Independence” took place in 1974, during which the guerillas’ insurgence was violently repressed.

From toponymy, a branch of linguistics, to politics, the links can be quite unexpected. These are which are sought to be revealed in the new fi lm by Jonathan Perel who uses his filmwork as a tool to explore and accurately document the marks left by previous dictators of Argentina. We are in the province of Tucuman, in the north of Argentina, an emblematic region where the fi rst Act of Independence in South America was signed in 1816 and where the “Operation Independence” took place in 1974, during which the guerillas’ insurgence was violently repressed.

Seventeen tripod-bound shots of fixed length observe the diverse and disparate settings in which 17 monuments, each bearing the words 'Memory', 'Truth' and 'Justice', were built by law to mark locations used as detention and torture centres during Argentina's military dictatorship between 1976 and 1983.

Graffiti in the former clandestine centres for detention, torture and extermination, El Olimpo and Automotores Orletti, in Buenos Aires, Argentina.

In and around the Escuela de Mecánica de la Armada (ESMA), the Navy Mechanics School, a former clandestine centre for detention, torture and extermination in Buenos Aires from 1976 to 1983.

The attempt to accompany the creative process (with the inevitable difficulties and silences) of five women-dancers-choreographers, in their experience of creating a work of dance theater.

전문 청부 살인업자 존 J.(로버트 듀발 분)은 인생에서 가장 어려운 임무를 받게 된다. 바로 3일 안에 부에노스 아이레스로 부패한 장군을 죽이고 미국으로 다시 돌아오는 것. 하지만 계획이 예상과 달리 지체되면서, 그는 도시의 매혹적인 탱고 클럽을 전전하게 된다. 관능적인 무용수와 탱고의 유혹에 빠진 그는 치명적인 음모에 빠지게 되는데...

Fabián, a magician from Buenos Aires, saves his money from weddings, birthdays, and bar mitzvahs, and uses a hidden camera to document a week-long trip to the Falkland Islands where he has a patriotic plan: to impregnate a British woman. If 500 Argies do this annually, the islands will soon be overrun with children belonging to both cultures. He spends his first couple of days in Stanley doing reconnaissance, setting his sights on Camila, whom he's first seen in church. He chats her up at an Internet café. They go out for drinks, then dinner, then to the see the King penguins and a 1982 battlefield. Back home, editing his Dogma 95 film, he receives a final message from Camila.