Pablo Mazzolo

The childhood memories of writer Martín Kohan are intertwined with the unreleased archive from the Channel 9 newscast between 1973 and 1980. Through this, a key period of Argentine history is reconstructed, exploring the relationship between personal memory and the public discourse of the time

The lives of Alma (Araceli Gonzalez) and Leo (Pablo Echarri) did not seem destined to cross. She, a baker in the mouth, with her ​​family and her boyfriend Mario since adolescence. The, an architect with secure wedding date with Valeria. One night, fate brought them together and this unexpected encounter will not go unnoticed. Both Alma and Leo not be fidgety to what happens between them.

Alexandra Cuesta cites eternal wanderer Henri Michaux as one of the inspirations for her first feature. It’s curious, then, that the opening sequence of Territorio (the first film Cuesta shot in her native Ecuador) shows us a boat heading for the shore. It is very likely that, to Cuesta, the image of water hides the same connotation than it does to the author of “The Sea of Breasts”: returning home, being sheltered in the mother’s womb. Without detouring from the formal approaches of her previous work, Cuesta traces a journey that crosses the country from north to south, drawing a human cartography in which the aim is to achieve an impossible balance between the foreign traveler’s gaze and the earnest familiarity of those who return home temporarily.

Students of different careers prepare to take final exams. Botany, anatomy, sociology, medieval philosophy, criminal law, morphology, theoretical physics and piano. Each one uses their own abilities to cope with the situation of oral exposure, the most common evaluative practice in the National Universities of Argentina. Throughout the waiting moments in the halls, between the drama and the absurdity of each exam, the subjects begin to find unexpected relationships.

De-electronation of a molecular entity as a result of photoexcitation. Light increases its oxidation state, at the same time it releases free radical electrons. Light goes through human work as a natural photodegradation. It mutates within its own limits, from a solar irradiation to its impossible perception in an absent retina.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

In Camouflage, writer Félix Bruzzone embodies a runner who has an obsession with Campo de Mayo, the biggest military unit in Argentina. It is also the place where his mother disappeared in 1976 and the main clandestine center of detention, torture and extermination during the last dictatorship. The film will follow Félix as he finds characters that allow him to enter and explore this place so loaded with history.

During the Malvinas war, more than a thousand Argentine soldiers were wounded. Many were cared for by 14 nurses in a mobile hospital located in Comodoro Rivadavia. After 37 years of silence, three of them return to the place to tell their stories.

Sanctuary explores queer spirituality and utopian sexualities through the figure of Purusha Androgyne Larkin (1934–1988), a monk, pioneering gay filmmaker, and self-proclaimed cosmic-erotic mystic. Larkin’s 1981 book, 'The Divine Androgyne According to Purusha', challenged repression with a spiritual vision rooted in eroticism and presented a radical path to cosmic-erotic consciousness through ‘extreme’ forms of sexual pleasure. Sanctuary explores Larkin's attempt to form a utopian, pleasure-based spiritual community, and considers the complex legacies of his ideas in queer culture. Shot on 16mm, the film weaves together the voices of Larkin’s friends and followers, creating a portrait in absentia of a figure ahead of his time.

Fresh and highpaced short shows Julio, his relationship, his chaotic and emotional quest through Buenos Aires, his Brazilian friend, the things he found, his chair and the stories that belong with them.

This short film is a part of a filmwork series about the proletarization of the light.

The portrait of Damo Suzuki, singer of the legendary German kraut band Can, on his visit to Argentina to give two concerts with a handful of local musicians led by Alan Courtis.

The Newest Olds is the second installment in Argentinian filmmaker Pablo Mazzolo’s cinematic diptych exploring the natural and urban environment within and surrounding the border region of Windsor–Detroit. Completed seven years after the release of Fish Point (2015), Mazollo’s revelatory study of light and landscape that animated the deciduous forest harbours and rare ecosystem at the southeastern tip of Pelee Island, The Newest Olds transforms Detroit’s iconic cityscapes, dislodging buildings from their foundations and collapsing the physical, political, and sensory boundaries between Canada and the United States through alchemical, in-camera, and optical printing techniques.

In the mountains of Córdoba hides a historical scar. In 1575, hundreds of Hênia-Kâmîare women, children and elders jumped off in order to avoid slavery. A free, poetic view at the very place where the largest mass suicide in the history of the territory known today as Argentina took place. The film is a phantasmagoric trip within this geographical extension, taking it as a vast, green cemetery.

NN reanimates archival footage from an Argentinian newsreel. The film revolves around the specter of thousands of disappeared civilians during the last military dictatorship in Argentina (1976-1982), trying to offer a reflection on human subject as anonymity.

A simple game can reveal secrets hidden for years.

A Blank is a first-person documentary about the relationship between the protagonist-director Ramiro and his mother, Elsa, and how his upbringing in the countryside and the dramatic separation of his parents shaped his life today.

In his previous films, Hacerme feriante (2010) and Embodied Letters (2015), Julián D’Angiolillo managed to go deep inside two universes that, even though they take place in front of everyone, remained invisible and inscrutable, as though they were subterranean—that of La Salada fair and of the authors of political graffiti in walls. For Ongoing Cave, his third work, the director goes back underground, this time in a literal manner, in order to reveal the mysteries of speleology, the science that studies caves and caverns. Italy, Slovenia, Cuba; antiwar bunkers; an exploring, revolutionary ballerina; an electronic party in which the stalactites and stalagmites dance under the flashlights. Everything is part of the ecosystem of tunnels and people that D’Angiolillo connects on screen, through images in which what lies still comes to life.

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Conjectures about the animal that bumps into itself, aims for big things, and gets sick of it all.