Leandro Katz

A man buries a mysterious package in a field. A black and white Murder & Linguistics production with Mark Boone Junior and José Rafael Arango.

The New York underground linked the paths of the actor and playwright Charles Ludlam, the superstar of avant-garde cinema Mario Montez and the Argentine artist Leandro Katz. An underground community found refuge in a porn cinema that Ludlam rented at night to stage his theater of the ridiculous. In 1970 he premiered The Grand Tarot, an extravagant burlesque where the arcana became characters and a reading of cards before the performance began established the order of the scenes. Rollo Six materializes that furtive experience, recovering in its formal commitment the inventiveness of chance that guided Ludlam's work. Katz superimposes edited scenes in camera, fracturing the screen through the use of masks that cover the lens and allow him to separately expose each corner of the frame.

Based on “Emma Zunz,” a short story by Jorge Luis Borges, the film moves through the internal voices of Emma’s character, whose evolution between crime, revenge and justice assumes—read from the context of the social struggles of the 60s and 70s—a decidedly political character.

Two cable guys who have been working together for many years decide to rob a bank, take lots of many and fulfill their life-long dream: not to work ever again. That is, of course, if everything goes well... but that won’t be the case in this independent comedy that is as free as it is funny

A cinematic investigation about death and the power of photography, El Día Que Me Quieras is a meditation on the last photo taken of Ernesto Che Guevara, when he was lying dead on a cement pile surrounded by those who captured him in Bolivia, in 1967

Paradox is an experimental documentary video in which Argentine artist Leandro Katz explores the contradictions inherent between the splendid past of the Mesoamerican societies and the poor living conditions of the inhabitants of regions that were once occupied by indigenous people.

Third in a series, this film is divided into four sections: The Tortuous Nature of our Progress, The Fire-El Fuego, Distance Number of Nothing, White Rushes Tied to a Cluster of Mulberry Shoots.

At the end of the 1960s, Argentine artist Leandro Katz participated in “Theatre of the Ridiculous”, an eccentric group linked to New York’s queer underground. This film-essay moves between archives, testimonies, and spectres of the past that question the present. Photography, film, video, and sound intertwine to approach, if only in brief flashes, that mythical past and raise questions about time, art, sexuality, death, and cinema.

A 2002 interview with John Vaccaro, founder of the Playhouse of the Ridiculous, recalling the actors’ walkout during rehearsals of The Conquest of the Universe, and his friendship with Charles Ludlam. The Theater of the Ridiculous was a radical theater genre that embodied queer, the word and the act, and set the embers of Gay Liberation aflame.