Lautaro Murúa

The House of the Angel focuses on the ruling class in 1920s Argentina, a deeply repressive society where political arguments were often settled by duels, and young women were expected to be totally ignorant of sex.Read More »

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The city of Aquilea has fallen under siege by sinister forces. A group of middle-aged men, led by a somewhat older man, resolve to mount clandestine resistance to the invaders and defend their city. Meetings are held, maps are studied, strategies are proposed—but can the invasion really be overcome?

Lost for years then rediscovered in 2004, the history of Hugo Santiago’s debut and its magical genre fluidity (is it an avant-garde crime thriller, a political sci-fi?) are the stuff of legend. Co-written by Jorge Luis Borges, who said it “may well be the first example of a new fantastic genre.”Read More »

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Graciela is a 1956 Argentine film directed by Leopoldo Torre Nilsson, which earned its Chilean star, Lautaro Murúa, the 1957 Silver Condor Award for Best Actor. It was Murúa’ debut film in Argentina and his first principal role, which he played opposite, Elsa Daniel.Read More »

Luis, an aging Falangist author with guilty conscious, is writing fake memoirs. Two reporters, his niece Mariana and her lesbian friend Elmyr, arrive to do a piece on him. While fact-checking his memoirs Mariana becomes attracted to him.Read More »

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In May of 1945, the news of the fall of Berlin spread to Buenos Aires. Clara is the daughter of a socialist leader named Boris who has died unexpectedly. As Clara learns more about a father she hardly knew, she finds out slowly about his political involvement during the war. There is some unrest in Argentina, and soon, not even Clara’s life is free from danger.Read More »

Letterboxd wrote:
A university student comes to stay with a bedridden woman and her four children. Helping out around the house, she soon grows fond of the mother and children. An attorney falls for the student, but the couple experiences problems when she declines to leave what he refers to as “that lunatic asylum.”Read More »

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La Raulito is marginalized and feels that all of her actions are called into question but cannot understand why. Is it possible that she represents something that everyone fears? (“There are tomboys… but what was that that just passed by”, people say). In any case it is curious that the places where la Raulito encounters a single friend (María Vaner) should be a cabaret [rather than ???] in jail or in her home which is dominated by an abusive husband? What the film stresses again and again is that there is no place for la Raulito in a society that imposes strict [gender] roles. Toward this end, Murúa constantly undermines any definite characterization of the sexual identity of his protagonist… a decision that respects her transgressive, defiant conditionRead More »

Letterboxd wrote:
A young teen has been raised by a despotic mother overcome with religious zeal and a father who rules over the household with a heavy, iron hand. Forcibly kept innocent of the sexual nuances of some adult relationships, she is not too clear on her rights, his intentions, or the consequences when her father’s best friend starts to lust after her.Read More »