Gustavo Galuppo

This film unfolds several stories from the lives and perceptions of three families of those who disappeared during the last military dictatorship, reflecting the unique interweaving of these relatives' personal relationships, as a reflection of the social complexities established by the process of state terrorism that occurred from 1976 to the present.

In Buenos Aires, during the 90s, the Pequeña Orquesta Reincidentes (Reincidents Small Orchestra) emerged. Through an 18-year career and 7 released albums, the group built a particular style of rock, appropriating distant sounds to achieve an absolute River Plate identification. ¿Qué sois ahora? try to leave testimony of that journey; of its political and cultural coordinates, of the relationships and the work traversed by the passage of time.

An essay in two movements and two voices about the violence of images. An attempt to move from a refutation to an affirmation of another origin and other symbolic horizons.

No description available.

After the death of her grandfather, Antonio Bonino, Toia found six negatives proving that he was a member of the Fascist Party and an aide to Benito Mussolini. Influenced by this discovery, the director sets out to trace her male family lineage, whom the end of World War II brought to Argentina. Instead of a clarification, however, the past crumbles and disintegrates into a mosaic of archival material, family films, excerpts from personal diaries and fragments of the works of Roberto Rossellini or Luchino Visconti. But it is the meanings that emerge from the combination of disparate images that offer answers and fill the information vacuum that has shaped generations of the family. The dynamics of the Bonino family's male-female relationships have a much darker basis than the social context of the time. In the story of grandfather, father, cousins and sons, Toia also finds a story of identity and of the role of wives, mothers, grandmothers and daughters in a history shaped by men.

Ignored by official stories, Christian Villeneuve was a pioneer in the research of electric energy applied to audiovisual media. His passion for electricity also fed his obsessive corpse reanimation experiments, especially after the death of his wife, opera singer Stilla Mihaly. Like an uncertain image catalogue, Pequeño diccionario ilustrado de la electricidad looks over Villeneuve's story with an electrocuted editing speed, creating deluded shots with videographic and animation techniques, but also gobbling up archive footage that ranges from scientific documentaries to fictions from various genres with the energy of the destructive form of Guy Debord's found footage.

Poetic essay that starts from a reflection on the historical functions of doors in relation to private property defense systems, from the fall of Troy to contemporary biometric mechanisms. However, there, the idea of a "door" is also the idea of "image".