Street address: Vicente López y Junín
Rooms: 1,2,3,4,5,6,7,8,9,10
Buses: 10, 41, 59, 60, 67, 92, 93, 95, 110, 118.
Show events How to getSection: Avant-Garde & Genre Competition
Village Recoleta - Vicente López y Junín
Room: 7
In 2013, The Mysterious Fanta Ananas, an unknown Somalian filmmaker, surprised the festival fauna with Chigger Ale, a bizarre short film about a Hitler clone from outer space. Everything seems to indicate that behind Fanta’s novelesque identity sits Miguel Llansó, a visionary filmmaker...
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Section: Panorama
Village Recoleta - Vicente López y Junín
Room: 5
In Ezequiel Acuña’s films, music plays a very important role (as well as young friendship and love, the feelings that are hard to translate into words, the absences that hurt and off-season beaches), so much so that we suspected that him making a film about a rock band was just a matter...
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Village Recoleta - Vicente López y Junín
Room: 6
“This is pretty civilized,” says Simon while someone serves food on his plate, as if he was expecting his hosts to be anything other than a Charles Manson-like clan of savages. Simon’s untrusting reaction during his short visit is probably the same one spectators would have if they...
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Village Recoleta - Vicente López y Junín
Room: 10
ōoka Shōhei, one of post-war Japanese literature’s greatest, had been called up to serve in ‘44, on the Philippines. What he describes in his 1951 masterpiece, Nobi, he knew –some of the unspeakable deeds too many soldiers committed during the final weeks of Imperial Japan (most me...
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Section: Panorama
Village Recoleta - Vicente López y Junín
Room: 3
There’s a genre (literary, musical, cinematic) ambiguously called Americana. It has to do with evoking a rural medium, a small, isolated town or city (it includes It’s a Wonderful Life, The Last Picture Show and even The Straight Story) and, in a more metaphorical way, with appealing the...
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Sections: Panorama Competencia DDHH
Village Recoleta - Vicente López y Junín
Room: 4
In one of their many songs –the one entitled “What Belongs to Everyone Belongs to No One”, Los Aldeanos say, among many other things: “Justifying all with the blockade / you need to get a license to fart / I see, I see, how ugly this is getting (…) / no evil lasts a hu...
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Village Recoleta - Vicente López y Junín
Room: 2
There actually is a pigeon here, in the beginning: a stuffed one, therewith past wondering; some zombie-like-looking human gawks at it in seemingly dull incomprehension. The film’s anti-heroes, a pair of salesmen specialized in fun novelties like vampire teeth (with extra-long fangs!) are met...
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Village Recoleta - Vicente López y Junín
Room: 9
The last real earthquake to hit cinema was Blue Velvet. There is much of what noir does best in here: Kyle MacLachlan’s Jeffrey Beaumont slips past the safety rails and hops right into a raging maelstrom of guilt and evil as blithely as any noir protagonist ever did; and Dennis Hopper’s...
ViewSection: Panorama
Village Recoleta - Vicente López y Junín
Room: 1
As her brief but explosive filmography as a director keeps growing, Asia Argento seems to be setting up a sort of (false) autobiography, both personal and artistic: from the nightmares of the lead actress in Scarlet Diva (2000) to the terrible mother of The Heart Is Deceitful Above All Things (2004)...
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Village Recoleta - Vicente López y Junín
Room: 7
The Argentine coast has some characteristics that are hard to translate: tourist attractions, the everyday pace, the personality of its inhabitants and urban identity. Lucía Ferreyra’s first film, a feature based on a short, traces line after line the skeleton of one of those coastal to...
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Section: A Secret History of Weimar Cinema
Village Recoleta - Vicente López y Junín
Room: 10
One of the lesser known films of Murnau: It’s a men’s world, but –as often– with a femme fatale in its center; a melodrama of guilt and treason unfolds itself in flashbacks. All is atmosphere: Like in a gothic tale, the stormy weather mirrors the emotional state of people; th...
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Village Recoleta - Vicente López y Junín
Room: 5
Mid-size films without any grand pretensions are very welcomed. What pretensions are those? To find an audience! Without giving up its original idea, no low punches or miscalculations, and without resigning its identity, How to Win Enemies features characteristics local cinema are not really used to...
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