Bafici
Program
Venues and Tickets
Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
The space where Gyula Kosice welcomes us looks like a craftsman’s workshop, but the images on the walls showexhibits of the artist around the world. Rekindling his own myth, he talks to us about his intimate relationship with water, the fundament of his hydrokinetic sculptures. Dazzled by the movement of water and light, I ask him if he would like us to make a documentary about his life and work. He smiles. Three years later, we immersed ourselves in the “Kosice Hydrospatial” exhibit, the unfurling of the film that originated it. In the darkness of the room, Kosice’s iconic drop of water and his signature in neon converse with the screening and frames from the film: portrait of the artist in the flow between idea and work, family and career, science and poetry.Gabriel Saie, director of the documentary Kosice Hydrospatial
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
They’re not just actresses from key periods of Argentine cinema (and from its mutations). Graciela Borges and Mirtha Legrand are also inevitable cultural presences, irreplaceable icons, and actresses with remarkable abilities foradaptation. This exhibition is not just a journey through their films, dresses, and diverse objects, but also a way to set up a perspective on the category of star and diva, on what they represent for Argentine cinema, on how they have embodied –and still do– imaginaries, expectations, and dreams. Borges and Legrand in moving pictures, in photographs, in reflections of their brightness, in magnified and also –fortunately– close presence.
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
Of course, we wanted more films by Fabián Bielinsky. In the tenth anniversary of his death we have decided not only to bring back his films to the big screen, but also dedicate this exhibition to him, as it somehow allows us to keep talking about film with Fabián. Because he used to think passionately and effectively about cinema, and you could see that in his films. And we will see that in interviews, brainstorm sessions, storyboards, picture, and a lot more (we have many unreleased surprises), in this Bielinsky Experience we’re proposing to you, a way of revisiting and expanding his extraordinary legacy.
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
The Criterion Collection, or Criterion, was founded in 1984. It is The North American company devoted to releasing “important classic and contemporary films” on home video and in theaters. Since its inception, Criterion has been a film lover’s miracle, not only for the company’s decisions when it comes to discovering and rediscovering classics (ranging from the works of Lucrecia Martel to those of Jean Renoir, from the Beatles to Wes Anderson), but also for its approach to design. With original art created by the likes of Daniel Clowes, Eric Skillman, and Beátrice Coron, essays by critics such as Kent Jones and Stephanie Zacharek, and supplements that enhance the cinematic experience, each Criterion edition is a treasure trove that presents in physical form the way we feel and think andcare for cinema in our film-buff’s brains. The Art of Criterion exhibit is made up of more than 70 designs from the company’s DVD and Blu-ray releases that showcase the company’s vast oeuvre.
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
TELOS: The Fantastic World of Eugene Tssui presents the vision of a maverick architect inspired by nature’s form and function. Tssui’s ideas, always focused on sustainability, have been ahead of their time for over thirty years. Tssui is a man who, in his own words, is trying to do no less than to “change the world.” This exhibition shows part of his projects, which include architecture, industrial design, clothing design, scientific researches, just to mention some of them.
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
What is Aardman? First, it is the company responsible for Wallace and Gromit, the most famous characters in British animation, and modern classics of the genre such as Chicken Run or Shaun the Sheep Movie. In a world where digital animation reigns, Aardman is a different concept. In its more than forty years of history, Aardman has created more than iconic commercials or invincible characters. Whether in frame-by-frame clay animation (its finest weapon) or in digital, Aardman stands out for the human work that puts into every project, and the way it reflects the purest of cinemas without rejecting modernity or warmth. By accessing dozens of files, the Aardman: The Form of Joy exhibition expresses that human print in the creation of Peter Lord and Nick Park, includes material ranging from sketches to documentary footage, and shows the precious metalwork that takes place in the company’s animation sets.
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Punto de Encuentro [18] BAFICI - Junín 1930
Room:
Centro Cultural Recoleta
I don’t think I can say anything too significant about Inscriptions. I don’t understand much myself. I know the film comes from somewhere unknown, that it comes from “outside,” that it’s an inspiration. This happens to me with all the films I make as I have no predetermined concepts; they appear the way they can. I know it’s a film that tries to say something about the birth of language, text, words. It describes text as image and sense. And it tries to address the need –inherent in mankind–to construct meaning in the face of existential invisibility. NH
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Espacio INCAA cine Gaumont - Av. Rivadavia 1635
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Village Recoleta - Vicente López y Junín
Room:
10
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Artemultiplex Belgrano - Av. Cabildo 2829
Room:
3
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El Cultural San Martín - Paraná y Sarmiento
Room:
1
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Artemultiplex Belgrano - Av. Cabildo 2829
Room:
1
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El Cultural San Martín - Paraná y Sarmiento
Room:
2
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Village Caballito - Av. Rivadavia y Acoyte
Room:
7
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Village Recoleta - Vicente López y Junín
Room:
9
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