Editor
Sunday afternoon at Las Heras Park. People and dogs pass by, and others enjoy while seated. It’s serene. It is a happy time. The film tries to share that afternoon under the linden trees, which are the most protective.
Cinematography
Sunday afternoon at Las Heras Park. People and dogs pass by, and others enjoy while seated. It’s serene. It is a happy time. The film tries to share that afternoon under the linden trees, which are the most protective.
Writer
Sunday afternoon at Las Heras Park. People and dogs pass by, and others enjoy while seated. It’s serene. It is a happy time. The film tries to share that afternoon under the linden trees, which are the most protective.
Director
Sunday afternoon at Las Heras Park. People and dogs pass by, and others enjoy while seated. It’s serene. It is a happy time. The film tries to share that afternoon under the linden trees, which are the most protective.
Herself
An inquiry into film criticism in Argentina framed inside the historical debate about film ontology
Editor
Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable
Director of Photography
Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable
Director
Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable
Director of Photography
A short film directed by Flavia de la Fuente.
Writer
A short film directed by Flavia de la Fuente.
Director
A short film directed by Flavia de la Fuente.
Director of Photography
The filmmaker is asked to direct a short film for the opening of a certain festival. The responsibility upsets and distresses her. She finds a solution that results in a manifest secret about fragile cinema and it’s adventures.
Writer
The filmmaker is asked to direct a short film for the opening of a certain festival. The responsibility upsets and distresses her. She finds a solution that results in a manifest secret about fragile cinema and it’s adventures.
Director
The filmmaker is asked to direct a short film for the opening of a certain festival. The responsibility upsets and distresses her. She finds a solution that results in a manifest secret about fragile cinema and it’s adventures.
Director
For two winters, just like the fishermen that feature in the film, the director went out every morning to shoot the coast in San Clemente del Tuyú, a few meters from her house. From the copious footage, she chose fifteen days that reveal the tension and the diversity of textures, sounds and small stories that are born out of patience and attention.
Director
On a quiet winter afternoon, the sale made with his tripod to film the sunset at sea. She films calmly enjoying the colors of the sunset and the sound of the water, she watches the dogs that come and go, when something unexpected dislodges her from her reverie and perhaps from the place of director of this film.
Director
Flavia de la Fuente returns to the same spaces from her 15 Days at the beach to document noghtfall and the variations of darkness, with images as pleasant as they are mysterious.
