Estela de Carlotto

No description available.

No description available.

In the face of the onslaught of neoliberalism and the Argentine crisis of the nineties, a new form of organization and solidarity work began to take shape in the forgotten province of Jujuy.

"Traslados" is a compelling documentary that investigates the notorious "Death Flights" conducted during Argentina's last civic-military dictatorship (1976-1983). Through powerful testimonies from former detainees, victims' families, and experts, along with archival footage, animations, and emotional recreations, the film pieces together the intricate puzzle of evidence that confirms the regime's brutal methods of murder and forced disappearance. Key moments featured include the discovery of the body of French nun Leonnie Duquet, the infiltration of military officer Alfredo Astiz into the Madres de Plaza de Mayo group, and an interview with Nobel Peace Prize laureate Adolfo Pérez Esquivel. The documentary also highlights the significant event of a plane used in the "Death Flights" returning to Argentina in 2023, serving as a poignant reminder of this dark chapter in history.

For more than forty years, Belela Herrera has dedicated her life to saving that of others. The politically persecuted, those displaced by civil wars, and the world's refugees are her concern and vocation. Her story is also that of a woman who defined herself and twisted the destiny reserved for girls of her social class: marrying to a man from high society, having a large family and a comfortable and elegant existence . And it is also the story of a female legacy that is part and consequence of the invisible resistance of thousands of women.

Key testimonies from firefighters about the death flights, a dictatorship mechanism to murder disappeared civilians. This documentary was instrumental to the fight for justice that owes answers to this day.

Documentary feature film based on the events that took place in the trial of the Argentine military juntas, which carried out the dictatorship from 1976 to 1983.

Julian plans to leave a legacy to society. The murder of genocidal dictator Jorge Rafael Videla. Result of a violent society, making a decision violent, Julian run huge risks, but the key is to not become the same monster that wants to kill.

A film that tells the life story of women searching for their kidnapped and disappeared grandchildren, whom they never met and for whom they have been searching and searching for for more than 40 years. In the film, the Grandmothers of Plaza de Mayo tell their story in first-person detail, emphasizing the fact that they were simple women whose lives changed forever and who experienced something exceptional (exceptionally horrific). Together, for more than 40 years, they have worked every day to recover their grandchildren and return their true identities.

Documentary about Estela de Carlotto, President of the Grandmothers of Plaza de Mayo, who in her home, amidst a few photos and many memories, reconstructs her family's history for her grandson, Guido. She speaks, looking into the camera and addressing her grandson directly. He has yet to recover his true identity and should have turned 33 this year. She tells him about his parents' lives and her own life, as if assuring him that even if he never sees it, he will have the chance to relive his story, just as she would have liked to tell it to him.

In the midst of a profound economic, political, and social crisis, in April 1982, the armed forces led by the then de facto president, the alcoholic General Leopoldo Galtieri, launched the reconquest of the Falkland Islands. This marked the beginning of a military adventure in the South Atlantic against a world power that laid bare the errors and horrors of the Argentine military regime. This documentary depicts the final act of a bloody dictatorship.

The documentary reveals the narcotic effect the '78 World Cup had on Argentine society, when Kempes' goals masked the horrors of the dictatorship. Recalling the attitudes of Adolf Hitler at the 1936 Berlin Olympics and Benito Mussolini during the 1934 World Cup in Italy, the film argues that the 1978 World Cup was "one of the most blatant political exploitations in the history of sport." Through previously unseen testimonies, survivors' accounts, and previously unreleased archival footage, the film portrays the contradictory duality between the euphoria of a people passionate about football and the simultaneous horror suffered by the victims of a bloody dictatorship.

The documentary directed by Estela Bravo collects the story of girls, boys and young people who were able to recover their true identity thanks to the struggle of the Grandmothers of Plaza de Mayo. The documentary gives an account of the tireless task undertaken by Estela de Carlotto in the search for the stolen granddaughters and grandsons, as well as to reveal the true story of the horror perpetuated by the last civic-military dictatorship in Argentina.

This is the story of an optimistic and amnesiac people who, at the slightest glimmer of light, are prone to forget the pain caused by repeating their mistakes at the polls or by knocking on the doors of the barracks, and rush into hopeful celebration: a dubious World Cup, a war with England, the coming of democracy, etc. And so, between pain and celebration, they await that promised future of abundance.

This documentary focuses on a story that is at the same time all stories: that of Eva, daughter of Juan Carlos Arroyo, one of the 30,000 disappeared detainees of the last dictatorship. Eva is one of the strongest activists in the H.I.J.O.S. organization, and through her and her sister's and mother's stories, the film addresses human rights, clandestinity, uprooting, and exile. The film recovers the dreams of a generation, which resurface in the activism of their sons and daughters, central participants in the demands for memory, truth, and justice—demands that articulate with new social struggles.

"The Disappeared" relives the horrors of Argentina's Dirty War (1976-83) through the experience of Horacio Pietragalla, a young man raised by the maid of the officer who kidnapped him after the military brutally murdered his parents. The film follows Horacio as he reconstructs the cause for which his real parents gave their lives, and, through this search, reclaims his true identity. This personal journey internalizes the tragedy that ravaged the country for seven years and exposes polarized views on state-driven terrorism in groundbreaking interviews with top military officials, concentration camp victims, human rights activists, journalists who covered the events, and members of Horacio's surrogate and biological families.

1983: After more than seven years of terror, the Argentineans recover the democracy. The reconstruction of a climate of time and an event that marked a point of break not only in the policy but in the culture and the arts of Argentina

An Argentinean born Spaniard, writer and journalist, whose parents were tortured and murdered during the Military Coup, returns to finish a novel about them, with the ambiguous determination to get even with their murderer, a former Sheriff who lives nearby in Patagonia. He and the Sheriff's daughter fall in love. He takes DNA samples of the Girl's family and realizes the truth; she is not their daughter, which means she might have been abducted from her murdered parents. He indirectly feeds her mistrust. The girl travels to Buenos Aires to investigate. She finds out the truth and faces her father, who avows never agreeing on saving those children. On her question, "Who am I?" he says she is a mistake and that she is alive thanks to his decision. It is her who ultimately solves the Writer's conflict in a tragical showdown with the Sheriff.

Joan Manuel Serrat fled to Mexico when Franco ordered his persecution. In Argentina and Chile, his commitment against military regimes is still remembered. Joaquín Sabina arrived later. His poetry bewitched the audience. In Argentina, he is a tango singer as much as a rocker; in Mexico, the mariachis sing their songs. The former is a symbol, a venerated figure; the latter is a “cuate,” as they say in Mexico, a buddy with whom you can always count.