Directing
Four groups of people with several centuries of History, in the middle of the Peruvian mountain range, more than 12,000 feet high, united by an antique ritual, take us with their voices into the renewal rite of the Q'eswachaca bridge and give us the possibility of looking to the world in a different manner.
It portrays the attractive personality of this painter who, defying the blindness that cornered him, develops an original and unique artistic production among his own, whose study and observation theme has been the ancestral relationship between man and the earth, imbricated in rites and customs. of daily practice and pre-Columbian roots.
Guided by the voice of Roberto Sánchez himself, Mato’s camera reconstructs the memories of the childhood, family and friends of the “neighborhood kid” and Elvis fan who became the idol of an entire country. The miraculous crossing between a life story and a reality that overflows every riverbed imaginable.
Haroldo Conti tells the story of himself. Through his literary stories, his voice rescued from archives, the fictional recreation of his anecdotes, and his characters, the film tells us about a man and his work. It is Haroldo Conti himself, that man who travels, a "homo viator," as he defined himself in the Latin he taught in schools, who guides us in this film through all his worlds: that of ideas, that of creation, that of affections. In all of them, one constant: a profound love for humanity and for life. Haroldo Conti, Homo Viator, knew how to live with intensity and conviction. But, above all, with joy.
More than 400 children from the National Movement of People's Children marched from La Quiaca, in the far north of Argentina, on the border with Bolivia, to Buenos Aires, the country's capital. The objective was simple, unappealable, and humiliating. They marched to demand the fulfillment of children's rights, a commitment Argentina made to the world and even enshrined in its National Constitution. A commitment that is betrayed daily.
On March 24, 2004, Patricia, a teacher from Monte Grande, saw on television President NĂ©stor Kirchner take down the portrait of Videla and other de facto presidents of the military dictatorship from the Military College. This image repeated itself in her mind, leading her to retrieve from her box of memories the letters addressed to the soldiers of the Malvinas War, which she had saved from destruction when she worked as an administrator at the Municipality of Monte Grande. She then decided to give meaning to that event by starting to deliver the letters that had never arrived.
