Miguel Kohan

A man travels to the Argentine north following the leads of a mythical pre-Columbian entity in charge of the relatives’ sorrow. The roads at night, the inns and the large salina of Zelarayán’s poem reject anthropological shortcuts and build up a mystery that is perhaps as formidable as the very bearer of sorrow.

A man travels to the Argentine north following the leads of a mythical pre-Columbian entity in charge of the relatives’ sorrow. The roads at night, the inns and the large salina of Zelarayán’s poem reject anthropological shortcuts and build up a mystery that is perhaps as formidable as the very bearer of sorrow.

A man travels to the Argentine north following the leads of a mythical pre-Columbian entity in charge of the relatives’ sorrow. The roads at night, the inns and the large salina of Zelarayán’s poem reject anthropological shortcuts and build up a mystery that is perhaps as formidable as the very bearer of sorrow.

A man travels to the Argentine north following the leads of a mythical pre-Columbian entity in charge of the relatives’ sorrow. The roads at night, the inns and the large salina of Zelarayán’s poem reject anthropological shortcuts and build up a mystery that is perhaps as formidable as the very bearer of sorrow.

In Rivera 2100, a corner house facing a railway’s warehouse in the suburbs of Buenos Aires, a young newlywed couple built, with its own hands, a house that was the beginning of their own cultural zeitgeist; a safe haven that irradiated music, art and freedom, in the midst of a country that was living its darkest and most violent time.

In Rivera 2100, a corner house facing a railway’s warehouse in the suburbs of Buenos Aires, a young newlywed couple built, with its own hands, a house that was the beginning of their own cultural zeitgeist; a safe haven that irradiated music, art and freedom, in the midst of a country that was living its darkest and most violent time.

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

O documentário desenha o retrato de alguns de músicos excepcionais de tango, incluindo criadores de repertório clássicos e fundadores de uma variedade de estilos e escolas, bem como os membros das bandas e orquestras que alcançaram a fama nos anos 1940 e 1950, na era dourada do tango. Vários protagonistas se tornaram grandes nomes no exterior, enquanto outros restringiram sua atuação ao interior da Argentina. O músico e compositor argentino Gustavo Santaollala (vencedor de dois Oscars por suas músicas para os filmes O Segredo de Brokeback Mountain e Babel) atua como guia, para apresentar as grandes estrelas do famoso ritmo - Leopoldo Federico, Lágrima Ríos e seu violonista Aníbal Arias, além do dueto Libertella e José Luis Stazo.