Alejandro Fernández Mouján

What are three years in the life of a river, on its coast, in a corner of South America? The seasons follow one another; time speaks of a Río de la Plata that is always different. The air brings voices from the past and the present; we realize that we are also this river.

The Ceibo tree, which had played an essential role in Mayan culture, is the protagonist of Alejandro Mouján's short film from 2016, in which the director observes the passing of time, this transitory state that is so precious, and yet goes almost unnoticed. The Ceibo tree, a beautiful natural creation, becomes a symbol, a mirror of ourselves.

The year is 1896. In the dense jungle of Paraguay a three years old Ache girl survives a slaughter perpetrated by white settlers. The girl is named Damiana by her captors. Anthropologists from the La Plata Museum of Natural Sciences in Argentina take her as an object of scientific interest in the context of their racial studies. Later she is handed over to a family where she grows up as a maid. In 1907, at the age of 14, she is committed to a mental institution. There she is photographed naked just two months before her death from tuberculosis. Once dead her body is studied in La Plata and in Berlin. One hundred years later, an anthropology student identifies part of her remains in the La Plata museum. Her head is found soon after at Charite Hospital in Berlin.

The year is 1896. In the dense jungle of Paraguay a three years old Ache girl survives a slaughter perpetrated by white settlers. The girl is named Damiana by her captors. Anthropologists from the La Plata Museum of Natural Sciences in Argentina take her as an object of scientific interest in the context of their racial studies. Later she is handed over to a family where she grows up as a maid. In 1907, at the age of 14, she is committed to a mental institution. There she is photographed naked just two months before her death from tuberculosis. Once dead her body is studied in La Plata and in Berlin. One hundred years later, an anthropology student identifies part of her remains in the La Plata museum. Her head is found soon after at Charite Hospital in Berlin.

The year is 1896. In the dense jungle of Paraguay a three years old Ache girl survives a slaughter perpetrated by white settlers. The girl is named Damiana by her captors. Anthropologists from the La Plata Museum of Natural Sciences in Argentina take her as an object of scientific interest in the context of their racial studies. Later she is handed over to a family where she grows up as a maid. In 1907, at the age of 14, she is committed to a mental institution. There she is photographed naked just two months before her death from tuberculosis. Once dead her body is studied in La Plata and in Berlin. One hundred years later, an anthropology student identifies part of her remains in the La Plata museum. Her head is found soon after at Charite Hospital in Berlin.

"Impure Gold" is a tour around some of the open pit mining with cyanide that corporations have settled in the Argentine northwest San Juan, La Rioja, Catamarca, Tucuman Salta - and the reaction of the surrounding populations from the contamination.

After Memoria del saqueo, La dignidad de los nadies, Argentina latente and La próxima estación, Solanas begins with Oro puro a diptych on the plundering of mineral resources (metals and hydrocarbons). This remarkable and powerful documentary denounces the open-pit cyanide mining operations carried out by multinationals in the northwest with the support of politicians, exposes the progressive contamination of soil and water, and exalts social resistance movements through moving individual and collective examples.

Stories of protagonists of the clandestine struggle called Peronist resistance, between 1955 and 1965. First the bombings of the civilian population of Buenos Aires on June 16 and then the military coup of September 16, 1955, drive workers and people from the people to come out in defense of the Perón government. There the "abnormal, excessive, hallucinatory odyssey of the Resistance" was born, the clandestine struggle against a bloody dictatorship called the "Liberating Revolution" and renamed the "Fusiladora". Today, those same men and women with more than 70 years, remember their struggle, and still vindicate themselves as resistant.

Stories of protagonists of the clandestine struggle called Peronist resistance, between 1955 and 1965. First the bombings of the civilian population of Buenos Aires on June 16 and then the military coup of September 16, 1955, drive workers and people from the people to come out in defense of the Perón government. There the "abnormal, excessive, hallucinatory odyssey of the Resistance" was born, the clandestine struggle against a bloody dictatorship called the "Liberating Revolution" and renamed the "Fusiladora". Today, those same men and women with more than 70 years, remember their struggle, and still vindicate themselves as resistant.

The history of the Argentine railways, from 1857 until the crisis of the current transport system. The closing of branches of the railway lines turned towns whose main source of work was the train into ghost towns. The privatization of the lines caused the dismissal of tens of thousands of workers as well as the deterioration of public service, causing in turn the increase of motor transport and the multiplication of automobile accidents.

The Pulqui jet was also designed and built in Argentina by 1947. It was the first aircraft of this type to be manufactured in Latin America. The project is the initiative of Juan Domingo Peron, who also wanted an aircraft capable of competing with the Soviets and the Americans. It is thus that the Pulqui has its baptism recognized flight before the MIG -15 and F -86 Sabre, suspiciously similar design to Pulqui. The project was cut short Pulqui the 1955 coup. But in the documentary, the plane Peronist have a second chance from the hand of the artist Daniel Santoro and Michael Biancusso engineer and metallurgist, who reconstructed thus scale to relive an epic Peronist.

The Pulqui jet was also designed and built in Argentina by 1947. It was the first aircraft of this type to be manufactured in Latin America. The project is the initiative of Juan Domingo Peron, who also wanted an aircraft capable of competing with the Soviets and the Americans. It is thus that the Pulqui has its baptism recognized flight before the MIG -15 and F -86 Sabre, suspiciously similar design to Pulqui. The project was cut short Pulqui the 1955 coup. But in the documentary, the plane Peronist have a second chance from the hand of the artist Daniel Santoro and Michael Biancusso engineer and metallurgist, who reconstructed thus scale to relive an epic Peronist.

As the third installment in an ongoing series of muckraking documentaries by Argentine filmmaker Fernando Solanas that investigate various sociological aspects of South America's second-largest nation (following 2004's Memoria del saqueo and 2005's La Dignidad de los nadies), Latent Argentina springboards from a truth little-known to most of the titular country's residents: Argentina owns more wealth and more innate natural resources than almost any nation on its continent. The possessor of a bountiful shoreline, endless acres of tillable farmland, the fourth largest metal reserves on the planet and a remarkable space program (the fourth in the world to send a human being into space), Argentina nevertheless remains a prisoner of backward and disadvantageous economical, political and social systems.

On December 20, 2001, a sculptor collects tear gas capsules, shotgun cartridges, rubber bullets, stones thrown by protesters and with them begins the construction of a work.

On December 20, 2001, a sculptor collects tear gas capsules, shotgun cartridges, rubber bullets, stones thrown by protesters and with them begins the construction of a work.

A country boy tries to find his place in Buenos Aires. He goes to live with his cousin in the outer suburbs and works as a parapalos ("pin setter") in one of the city's last hand-operated bowling alleys.

Документальная лента «Социальный геноцид» Фернандо Соланаса демонстрирует на примере Аргентины, что происходит с государством, когда его верхушка запускает механизм реформ Международного Валютного Фонда, разработанный и рекомендуемый для стран третьего мира. Каждый в этом фильме увидит близкие аналогии с тем, что началось на постсоветском пространстве после уничтожения СССР.