María Aparicio

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Collective film made from digitalized footage from the collection of Argentinian nitrate films of the Museo del Cine Pablo Ducrós Hicken, made on the occasion of its anniversary.

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.

The echoes of Jorge Bonino resonate in the spaces he inhabited, and his presence becomes imaginable from the stories that tell it. A body that exploded into a thousand pieces scattered across territories and affections that speak of him as someone capable of turning life into an extraordinary game.

After being unemployed for several months, Hernán attends a job interview to apply for a position in a call center.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.