Nele Wohlatz

A coastal city in Brazil. Kai arrives from Taiwan for holidays with a broken heart. A broken air conditioner sends her into Fu Ang’s umbrella store. He could become a friend, but the rainy season doesn't arrive and his shop disappears. While looking for Fu Ang, Kai discovers the story of Xiaoxin and a group of Chinese workers in a posh skyscraper. Kai finds herself strangely mirrored in Xiaoxin’s tale.

After a party, Agos and Ren find themselves in a strange place where they remember to have been before… A failed world bursting with dependences and doors leading to the same yet different place.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

The couple from the countryside is siting there, and tells all about their love. The man talks about how he met her; the woman talks about how they split up. The countryside was keeping its most hidden secret.

A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.

Archival footage of Argentinian skiers is transposed into prompts for language exercises.

“The possibility of writing letters must have brought to the world a terrible disturbance of souls. Because it is a relationship with ghosts - and not only with the ghost of the recipient, but also with his own. Who is allowed to allow people to have correspondence relationships! ”Letter from Franz Kafka to Milena Jesenska, 1920.

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

An ecologist from Germany and her filmmaker daughter who lives in Argentina meet in Cuba to film a documentary on snails. The mother has worked for years helping her colleagues in Cuba protect the polymita picta snails, which are facing extinction. She has her own ideas on how to make the documentary and the daughter follows her lead. However, when the authorities ban the shooting, the course of the film changes: it is no longer about the snails, but they themselves become the protagonists.

I keep moving the videos from one place to another and look for a relationship, as if they were the material for a film. That's how I know it: we shoot images to tell a story with them. But none of these videos were shot with that intention.