Ignacio Masllorens

Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.

Two female producers are commissioned to create a short documentary for an exhibition dedicated to Rubén Santantonín, an elusive figure of the Argentine avant-garde who died very young, in the late 1960s. However, the client imposes one unexpected condition: the video must be made together with David Lamelas, Santantonín’s former collaborator and today an internationally recognized figure of conceptual art. At first, the plan seems clear and limited in scope: Lamelas, accompanied by a young film crew, gathers archival materials, documents the few surviving works, and interviews curators and major artists – such as Luis Felipe Noé and Marta Minujín – who, along with Santantonín and Lamelas, peopled the legendary scene at the Instituto Torcuato Di Tella. Lamelas gradually realizes that reconstructing the story of his friend also means confronting a series of gaps and contradictions.

There was a time in Argentina, not so long ago, when the army wasn't only one, official, but many and made up by civilians. In those times of courageous youths determined to fight to the death for that cause upheld around Peronism as wll as some left-wing postulates, revolutionary Cubas was a beacon of hope in the world scheme -a Montonero nation. "A House in Cuba" seeks to recover the curious adventure of a couple of Montonero parents and their small children, who were lovingly sent into exile in order for their parents to take up arms.

In 1899, German neurobiologist Christofredo Jakob arrived in Argentina to conduct his research at the Hospital de las Alienadas, an insane asylum for women. More than a century later, in a semi-abandoned ward of what is now the Hospital Moyano, the traces of that experience appear in the form of brains and heads preserved in formaldehyde, stuffed animals and photographs from the patients who inhabited the hospital.

From her encounter with Eva Perón to the death of the icon, from her fascination with the Peronist cause to the persecution she will suffer after the Liberating Revolution, film star Fanny Navarro remembers her life walking today in the streets of Buenos Aires.

A story by Mario Levrero and a mythical house in the Paraná Delta (Tigre - Argentina) conspire to shape this film, as two pieces that complement each other but without keeping a total synchronization. The voice-over becomes the common thread of a fantastic surreal story about strange events that occurred in an abandoned house. The action highlighted with the unique presence of insects, shadows, reflections and rain, proposes scenarios for the specific spaces in the story and invites you to recreate the characters and events narrated there.

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

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Joan Crawford is a Hollywood legend. She star of bright and somber melodramas. She reigned on the screens for several decades, but every kingdom has her sunset. At that twilight moment, and as if trying to escape that crossroads, Joan decides to call the notable American artist, the greatest exponent of Pop Art: Andy Warhol. Her intention is to replace her muse, Elizabeth Taylor, in the serigraphs that the artist will present at the Ferus Gallery in Los Angeles. This intrusion will give rise to a telephone conversation where the queen of melodrama will confirm that the world has changed and that her cinematographic life in black and white is already part of an implacable past.

Shura finds out that her husband has escaped the mental institution he was in and no one knows where he is. Her days become plagued with paranoia and the presence of the man that follows her. Or is it just her imagination?

Portrait of the mythical ballerina Iris Scaccheri, made entirely with photographies.

"Diablo Viejo" was going to be a family road trip movie, but the production stops when the co-directors' 9 year relationship comes to an end. After the separation both put together their own version of the story with the pieces of a broken relationship and a frustrated documentary.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.

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The film retraces the journey of Gustav Emil Haeger's Swedish expedition (1920). Using the route defined by "Following the Indian Trails of the Pilcomayo River," the film made by the Swedish contingent in Formosa at the time, the film contrasts that past with the present-day journey.

A brief record of the insects and arachnids that visited my house during a very hot summer in Buenos Aires.

A mirror game between reality and fiction about the creative blocking of a troubled artist. Ricardo Mosner exists, but his character transcends the documentary world. We also see musician Daniel Melingo, the film’s director and co-star, transformed into a ghostly vagabond in the city. The camera captures these specters’ roaming like images of a digital canvas. There is wine, loneliness, parties and sunrises of bourgeois bohemians. The film encrypts its indomitable value in exposing how you can paint an audiovisual picture under the influence of this century’s events and variations. In the end, the film is an act of combining brushes and colors with precision in order to depict a happy reunion in exile.

Survivors of the Shoah and the last Argentine dictatorship recount the horror they experienced in places of repression and how they managed to rebuild their lives. The documentary explores the need to recount what happened, the responsibility of survivors, and the usefulness of words as a tool for building memory.

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Several shots that were born to be mere appendices of other more important ones, are reorganized to shape another narrative, forming a stream of images and sounds with no plot, no characters, no motive, but that advances irresponsibly towards nowhere.