Argentina

Synopsis:
Ulysses is a hundred-year-old man, battling for redemption on his last night on earth. Faced with imminent death, he is forced to rethink his past, his present and his take on reality.Read More »

Quote:
A lyrical, if Peronist adaptation of the José HernándezMartin Fierro (1872-9). One of the more essential Latin American films in my opinion.

Summary:
Directed by Fernando Solanas, produced by Cine Liberación group , which openly appeared as the film arm of the Peronist movement , it is a militant and passionate film, but whose passion does not stop producing a remarkable analysis of the political period that goes from Peron’s fall to await his return from Spain. Solanas’s film is structured around a mix between the figure of Martin Fierro and that of Juan Domingo Perón , a mixture in which the verses of the poem, symbol of the wisdom of the Argentine gaucho, intersect with the word in Peron’s speeches . Read More »

Quote:
12-year-old Juana goes to a British school in Buenos Aires, where she fails both socially and academically. Surrounded by the same routine, going to class and trying to pull her social life back together, Juana goes through the strange days one week before the exams that will determine her future.Read More »

Dante is a tailor who after losing his twin brother to death became phobic which prevents him from being in contact with death. Whenever he is in front of a dead body, he experiences a creepy feeling that makes him lose his mind.Read More »

Quote:
“We were workers of luxury. And nobody was rich enough to pay us. We had to be at the same time the actor and the documentarist. We had to be at the same time the painter and their muse. The poet and the landscape. The rifle and its prey. The rider and the horse. Don Quixote and Cervantes at the same time.” A miserable Argentine troupe of actors, dancers, musicians, film-makers and a girl embark on a theatre tour to some country, probably in Latin America. If ever love and money were irreconcilable, Por el dinero is the story of that tragedy. Read More »

Quote:
After claiming to be visited by his dead father’s ghost, a young man with sleepwalking problems (Hugo Arana) enters into a sexual relationship with the neighborhood hottie (Anotella Costa), a spiritual-mystical type who’s all too willing to be his guide through the Kama Sutra, as well as to teach him how to hold in his wad past 81 thrusts. Eventually, Arana discovers he can materialize in far-off lands when he bones — as though sex were the spice from Dune. (Sample post-coital line: “Venice is incredible!”) This, mind you, is basically played for giggles, with writer-director Eliseo Subiela maintaining a gentle dreamy-absurdist tone that feels like Buñuel minus the anticlericalism (if that makes any sense). Cheerfully inscrutable, with a deftly sustained, calmly deranged performance from Costa, it unfortunately can’t figure out an ending and so just stops. There’s a sexual metaphor for that condition, right?Read More »

Buenos Aires, 1985. It’s the first anniversary of the death of Alexis Carpenter, the unstable supermodel who died tragically when she was set on fire while closing a runaway show. Lucia L’uccello – Editor-in-Chief of the most important magazine in Buenos Aires – chooses supermodels Eva Lantier and Irene del Lago to honor Alexis on the cover of the anniversary issues dedicated to the famous model. The night before the photo shoot, Alexis’s original dresses that were going to be used by the models are stolen. From that moment, members of the important fashion magazine and the agency begin to disappear, one by one, at the hands of a stealthy, sinister female silhouette in a long black leather raincoat. Is someone seeking revenge? Or has Alexis returned from the grave?Read More »

A decade in the making, Mariano Llinás’s La Flor is an unrepeatable labor of love and madness that redefines the concept of binge viewing. The director himself shows up at the start to preview the six episodes that await, each starring the same four remarkable actresses: Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. Overflowing with nested subplots and whiplash digressions, La Flor shape-shifts from a B-movie to a musical to a spy thriller to a category-defying metafiction—all of them without endings—to a remake of a very well-known French classic and, finally, to an enigmatic period piece that lacks a beginning (granted, all notions of beginnings and endings become fuzzy after 14 hours). An adventure in scale and duration, La Flor is a wildly entertaining exploration of the possibilities of fiction that lands somewhere close to its outer limits.Read More »

Quote:
Belmonte paints forests full of trees, naked men in strange positions, submarine fantastic scenes, men/animals hybrid creatures, gravediggers characters, well-built men going up stairs to the leap, love scenes below trees. All of his work, sometimes full of colors, shows loneliness and melancholy, but also beauty and attraction to the human body. Even though Belmonte shows himself distant to some of his family members, he is an emotional man who needs affection all the time; he is especially dedicated to his daughter, Celeste. When Celeste isn’t around Belmonte is kind of lost. There’s a new and important exhibition upcoming at the National Museum of Montevideo but Belmonte is thinking more about the changes inside his family: his ex-wife got pregnant by another man, and he feels Celeste is going to spend less time with him. Belmonte negotiates with his ex-wife about the amount of days he should live with Celeste, he wants more, he needs more days; but is not easy….Read More »