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EL [18] BUENOS AIRES

FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE


AGRADECE EL APOYO DE LAS SIGUIENTES INSTITUCIONES

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

AGRADECIMIENTOS / thanks to
Adam Batty
Adriano Bruzzese
Agustn Arvalo
Agustina Arbetman
Agustina Chiarino
Agustina Romero
Akemi Makado (Mirage 3D)
Alain Maudet
Alberto Barbera
Aldo Montao
Alejandro Capato
Alejandro Dramis
Alessio Rigo de Righi
Alex Escaleira
Alicia Sanguinetti
Amanda Reis
Ana Poliak
Andra Dos Santos
Andrs Levinson
Andrs Nazarala
Andrs Tambornino
Angela Savoldi
Anna Lewis
Annamaria Lodato
Argentina Sono Films
Ariana Blanco
Aurlie Godet
Aurore Auguste
Beatriz Martnez
Beatriz Ventura
Beln Caparrs
Benjamn Domenech
Bita Rasoulian
Bruni Burres
Camila Toker
Carlo Chatiran
Carlos Sorn
Carlota Mosegu
CDI Films
Cecilia Barrionuevo
Cecilia Bianchini
Cecilia Chiappano
Cecilia Martnez
Celeste Castillo
Celina Murga
Celina Pla
Christian Hippacher
Christine Trstrum
Cinemateca INCAA
Constanza Arena
Cristian Bernard
Cristina Moncayo Florales
Daniel Alaniz
Daniel Chabannes
Danish Film Institute
David Bisbano
David Duponchel
David Rooney
David Schwartz
Dennis Lim
Desiree De Fez

Diego Batlle
Diego Brodersen
Diego de la Vega
Diego Lerer
Diego Trerotola
Dolores Meijomn
Ebrahim Golestan
Eduardo Bentez
Eduardo Crespo
Eduardo Machuca
Eduardo Novelli Valente
Elena Duque
Elas Mekler
Emiliano Andrs Cappiello
ENERC
Esteban Echevarra
Felipe Silvestre
Fernando E. Juan Lima
Fernando Martn Pea
Fernando Paduzack
Festival Ambulante
FICUNAM
Flavio Nardini
Florian Weghorn
Floriano Buono-Palamaro
Gabriel Medina
Gabriel Rocca
Gabriel Saie
Gabriela Ribeiro
Gabriella Baldini
Gastn Olmos
Gastn Solnicki
Georgina Tosi
Graldine Nougus
Gerwin Tamsma
Giulia DAgnolo Vallan
Graciela Borges
Graciela Silva
Guido Segal
Guillermo Alonso
Gwen Deglise
Gyula Kosice
Hans Hurch
Hctor Milosi
Hernn Panessi
Hernn Schell
Horace Lannes
Ilse Hughan
Irene Javiesky
Ivn Fund
Jaime Pena
Jason Fletcher
Javier Sisti Ripoll
Jean-Pierre Rehm
Jerome Paillard
Joan Pons
Jordan Hoffman
Jorge Moragues
Jos Martnez Surez
Josefina Garca Pulls
Juan Duarte

Juan Jos Becerra


Juan Lovece
Juan Pablo lvarez
Juan Pablo Bava
Juan Pablo Galli
Juan Vera
Juan Villegas
Judith Prescott
Juliana Gonzlez
Julie Bergeron
Justin Chang
Karen Langford
Kent Jones
Kim Hendrickson
Laura Kuhn
Leandro Listorti
Leda Films
Leonardo DEspsito
Leticia Jorge
Lisa Kermabon
Lita Stantic
Lourdes Lima
Lucas Garfalo
Luciana Calcagno
Luciano Monteagudo
Maia Debowicz
Manuel Antn
Manuel Ferrari
Marcela Cassinelli
Marcela Gamberini
Marcela Santiso
Marcelo Alderete
Marcelo Panozzo
Marcos Merino
Mara Marta Antn
Marian Fernndez (Festival
Punto de Vista)
Mariana Mutri
Mariano Kairuz
Mariano Valerio
Marlia Cristina de Meneses
Marina Locatelli
Marina Yuszczuk
Mario Santos
Mark Weber (Adler
Planetarium)
Martn Bielinsky
Martin Pawley
Martn Rejtman
Martn Rodriguez
Martina Pagnotta
Mary Vieites
Massimo Saidel
Matas Capelli
Max Prez Fallik
Miguel Valverde
Milagros Amondaray
Mora Snchez Viamonte
Morena Fernandes
Nacho Viale
Nadia Dresti

Natalia Toloza
Nazareno Brega
Ngaio Harding-Hill
Nicols Repetto
Octavio Nadal
Olimpia Pont-Chafer
Pablo Conde
Pablo Marn
Pablo Medina
Paolo Moretti
Patagonik
Patricia Barbieri
Pauline Frachon
Pedro Mairal
Peter Popp
Quintn
Rasmus Brendstrup
Rmi Burah
Robert Koehler
Robert Lloyd
Robert Sawallisch
(Planetarium Jena)
Rodrigo Aroz
Rodrigo Areias
Rodrigo Bedoya
Rodrigo Moreno
Rodrigo Moscoso
Roger Koza
Rosa Vita Pelegrin
Rosana Berlingeri
Rufus de Rham
Santiago Calori
Santiago Garca
Santiago Giralt
Santiago Loza
Santiago Mitre
Santiago Motorizado
Santiago Palavecino
Sarah Kurchak
Sebastin De Caro
Sena Latif
Sergi Steegman
Sergio Bulach
Silvina Stemberger
Tamae Garateguy
Tom Vincent
Ulises Rosell
Valeria de la Cruz
Valeria Pedelhez
Valeria Zamparolo
Vania Catani
Venice International Film
Festival
Vernica Chen
Will Massa
William Pfeiffer
Xavier Baert

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Para esta edicin de Bafici buscamos unir lo


tradicional del Festival con nuevas propuestas para que todos conozcamos el cine de
nuestro pas y del mundo. Propuestas relacionadas con duplicar las proyecciones gratuitas, aprovechando cada vez ms los lugares que nos ofrecen los barrios de la Ciudad
para verlas. Queremos que todos los ciudadanos sean espectadores de cine, por eso
los estudiantes y adultos mayores tendrn
ms beneficios para acceder a las entradas,
y esperamos que sirva como incentivo para
llenar las salas. Tambin, a travs de Facebook y Twitter, los vecinos podrn elegir qu
pelculas les gustara volver a disfrutar.
Como venimos hacindolo hace aos en la
Ciudad, durante ms de diez das las calles
se visten de fiesta con el objetivo de traer el
cine del mundo a la Ciudad de Buenos Aires.
Todos los vecinos estamos ansiosos por ir a
las salas a vivir la experiencia de ver una pelcula diferente, de conocer un director nuevo
o, por qu no, de recordar aquel clsico que
no nos cansamos de ver.
Recibiremos a invitados de todos lados para
que nos compartan su trabajo y sus experiencias en el sptimo arte. Tambin nuestros
cineastas tendrn la maravillosa oportunidad
de mostrar su obra a todos los continentes.
Estoy convencido del poder de la Cultura
para unir a las nuevas generaciones que crecieron con este Festival junto a los que venimos disfrutndolo desde hace ms aos.
Estamos orgullosos de poder darle la bienvenida a uno de los festivales de cine ms
importantes de Latinoamrica.

For this edition of Bafici, our goal is to link


the Festivals tradition with new ideas, so
we can all get to know local and foreign
cinema. Ideas about doubling the amount
of free screenings, using the places the city
neighborhoods offer. We want every citizen
to be a filmgoer, therefore students and senior citizens will have more benefits when
purchasing tickets, and we hope that will
serve as an incentive to pack the theaters.
Also, through Facebook and Twitter, neighbors will be able to choose what films they
want to see again.
Just like we have been doing in the City for
years, the streets will dress up for more than
ten days to bring the world cinema to the
City of Buenos Aires. We, the neighbors, are
all excited to go to the theaters for the experience of seeing a different film, getting to
know a new director, or, why not, remember
a classic we never get tired of.
We will welcome guests from all over so
they can share their work and experiences
in the seventh art form. Also, our filmmakers
will get the wonderful opportunity to exhibit
their work to every continent.
Im convinced of the power of Culture to
unite new generations who grew up with this
Festival, alongside those of us who have enjoyed it for many years. Were proud of welcoming them to one of the main film festivals
in Latin America.

Horacio Rodrguez Larreta


Jefe de Gobierno | Ciudad Autnoma de Buenos Aires
Chief of Government | Autonomous City of Buenos Aires
4

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

En la 18 edicin del Bafici nuestro desafo es


que nuevos espectadores de todas las edades se sientan parte del Festival. Queremos
que en Buenos Aires se respire cine. Ms de
diez sedes estarn funcionando con la mejor
programacin, se proyectarn pelculas de
altsima calidad en diferentes puntos de la
ciudad, y este ao estaremos presentes no
solo en los circuitos habituales (salas tradicionales, centros culturales, espacios al aire
libre), sino tambin, y muy especialmente,
en barrios informales. Con esta ltima propuesta queremos insistir en que el arte debe
formar parte de nuestras polticas de inclusin. El cine tiene que llegar a lugares de
la ciudad a los que antes no lo haca, y los
vecinos deben contar con la posibilidad de
formar parte de este Festival como espectadores y, adems, deben verse alentados a
utilizar ellos mismos esta maravillosa forma
de expresin.
Los invito a vivir este intenso intercambio
cultural entre la Argentina y decenas de pases de todo el mundo, a compartir otras experiencias de otras personas y a descubrir
cmo piensan y qu sienten; a entender, con
toda la potencia de este medio, lo que nos
diferencia y lo que tenemos en comn.
En el Bafici conviven chicos y grandes, abuelos y nietos, turistas, parejas que vienen por
primera vez juntos al cine, padres e hijos,
maestros y alumnos. Y tambin nosotros, el
equipo del Ministerio que est trabajando incansablemente para que esta fiesta salga a
la perfeccin.
Este ao el Bafici cumple su mayora de
edad. Estos 18 aos de puro aprendizaje implican una gran responsabilidad, sobre todo
a la hora de cumplir con el exigente gusto de
los amantes del sptimo arte y responder al
entusiasmo de miles de ciudadanos.

Our challenge for this 18th edition of Bafici


is to have new film fans of all ages feeling
they are all part of the Festival. We want
Buenos Aires to breathe cinema. More than
ten venues will be offering the best programming, great films will be screened in
different points of the city, and this year we
will be present not only in the traditional
circuits (traditional theaters, cultural centers, outdoor venues) but also, and especially, in informal neighborhoods. With this
last proposal we want to insist on the fact
that art should be part of our inclusive policies. Cinema must reach the areas where it
didnt before, and neighbors should have
the possibility to be a part of this Festival as
viewers, and also be encouraged to use this
wonderful means of expression.
I invite you to experience this intense cultural exchange between Argentina and dozens of countries all over the world, share
other peoples experiences, and find out
how they think and what do they feel. And
also understand, thanks to the power of this
medium, what differentiates us as well as
our common threads.
Bafici is a meeting point for kids and adults,
grandparents and grandchildren, tourists
and couples on their first movie dates, parents and children, teachers and students.
And also us, the Ministry team who is working hard to make sure this party is perfect.
This year, Bafici becomes of legal age. These
18 years of learning to carry a great responsibility, especially when meeting the demanding taste of film lovers and responding
to the enthusiasm of thousands of citizens.

Daro Loprfido
Ministro de Cultura | Ciudad Autnoma de Buenos Aires
Minister of Culture | Autonomous City of Buenos Aires
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

El Bafici concentra en doce das es decir, el


3,3% del ao una cantidad de pelculas similar a la que se estrena en los cines durante
doce meses.
12 das/12 meses.
Esto significa que los das del Festival tienen
una concentracin cinematogrfica treinta
veces mayor que la de cualquier otro da. Uno
de nuestros objetivos conscientes es que esa
oferta concentrada sea mucho menos homognea que la de cada jueves. Cine de muchos
ms pases para ver en salas de cine, o en
pantallas al aire libre. Pelculas presentadas
por sus directores, actores, msicos, productores. Gente que viene a charlar, a debatir, a
ensear. Pelculas acompaadas por muestras no se pierdan la Galera Bafici, conciertos, eventos especiales. El Bafici como lugar
para estar el mayor tiempo posible durante
esos doce das, y emplear ese tiempo para
sorprenderse la mayor cantidad de veces que
se pueda.
Desde que el Bafici empez, en 1999, ver
pelculas en el hogar y acceder a una gran
variedad se fue haciendo cada vez ms sencillo. En este contexto y casi en cualquier
otro es la obligacin de un festival de cine
volver a pensarse constantemente. Quizs
eso sea ser parte del Bafici: preguntarnos
sobre nuestra historia, incluso cuestionarla, y
recuperar y reforzar nuestras virtudes pasadas. En ese sentido, por ejemplo, si el Bafici
fue el lugar en el que pudimos explorar el cine
de Extremo Oriente, esta edicin 2016 vuelve a serlo, con una gran cantidad de ttulos
de ese origen. Y si vemos que hay singulares
pelculas latinoamericanas que han circulado
poco, y que podran agruparse y formar una
nueva competencia, sumamos la novedad.

Y si creemos que hace falta una renovacin


en la programacin, nos ponemos a pensar
un panorama en el que hasta se lica la propia palabra panorama, al agrupar las pelculas
en algunas categoras ya probadas y tambin
en otras flamantes: ms informacin para decidir qu ver, y ms foco puesto en pensar el
Festival como un men estimulante y variado.
Trabajo en el Bafici en diferentes roles
desde 2001, lo hice con cuatro directores
artsticos y cinco productoras diferentes,
y distintos equipos en diversas zonas del
Festival. Les agradezco a todos los compaeros de trabajo de estos 15 aos los
aprendizajes, los apuros, incluso las tensiones propias de hacer un evento de estas
dimensiones. Quiero mencionar especialmente a Marcelo Panozzo y Paula Niklison
por la generosa transicin para una edicin
que comenzamos juntos bajo su gestin.
Ahora, como director artstico, quiero agradecer en primer lugar la confianza de las
autoridades del Ministerio de Cultura. Y muy
especialmente a los programadores que
continan de aos anteriores y tambin a los
que se sumaron para trabajar en los ltimos
meses, los ms intensos y definitorios. No solamente me han soportado, hicieron adems
un trabajo extraordinario y con alegra contagiosa: son Magdalena Arau, Violeta Bava,
Fran Gayo, Agustn Masaedo y David Obarrio. Y Juan Manuel Domnguez en Baficito
y ms all. Y a todo el equipo, en especial a
Ailn Bressan y a Paloma Dema, que en sus
roles de productora general y coordinadora
de programacin apuntalaron, sostuvieron
y aguantaron mi asedio informativo desde
cada madrugada. Y a las que me aguantan
todos los das: Fa, Jo y Ampi.

Javier Porta Fouz


Director Artstico [18] Bafici
Ciudad Autnoma de Buenos Aires
6

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

In twelve days that is, 3.3% of the year


Bafici concentrates as many films as those
commercially released in twelve months.
12 days/12 months.
This means that Festival days carry a film
concentration that is thirty times worse
than any other regular day. One of our
goals is that this concentrated offer can be
much less homogenous than the one we
get every Thursday. Films from many countries to be watched in film theaters, or outdoor screenings. Films presented by their
directors, actors, musicians, and producers. People coming in to chat, debate, and
teach. Films joined by exhibitions dont
miss Bafici Gallery, concerts, and special
events. Bafici is a place where one should
spend as much time as possible during
those twelve days, and use that time to be
surprised as many times as possible.
Ever since Bafici started, in 1999, watching
films at home and accessing a great variety of them became increasingly easier. In
this context and almost every other one
a film festivals obligation is to rethink itself
constantly. Maybe that is what being a part
of Bafici means: to pose questions about
our history and even question it, and both
recover and strengthen our past virtues.
In this sense, for example, if Bafici was a
place where we could explore the cinema
of the Far East, this 2016 edition will do
that again, with a great deal of films from
that region. And if weve noticed some Latin American films havent circulated that
much and they can be grouped together
into a new competition, we add that novelty. And if we think theres need for renovation in the programming, we start to think

about a panorama in which even the word


panorama itself gets liquefied, as we group
films in both new and already tested categories: more information to decide which
films to see, and a focus on the Festival as
a stimulating and diverse menu.
Ive been working in Bafici in different roles
since 2001. I did it under four artistic directors and five different producers, and different teams in different areas of the Festival. I
thank all my work colleagues from these 15
years for teachings, the rushes, and even the
tensions of making an event of this size. Id
like to specially mention Marcelo Panozzo
and Paula Niklison for the generous transition into an edition we started together under their management.
Now, as an artistic director, Id like to acknowledge, in the first place, the trust of the
Ministry of Culture authorities. And, especially, the programmers who continue from
past years, as well as the ones who joined in
the last months the most intense and crucial time. They not only have stood up with
me, but have also delivered extraordinary
work with a contagious joy: they are Magdalena Arau, Violeta Bava, Fran Gayo, Agustn
Masaedo, and David Obarrio. And Juan Manuel Domnguez, in Baficito and beyond. And
the whole team, especially Ailn Bressan and
Paloma Dema, who in their roles as general
producer and programming coordinator respectively have supported, sustained, and
endured my information siege from early
hours in the morning. And those who do it
every day: Fa, Jo, and Ampi.

JPF
Artistic Director [18] Bafici
Autonomous City of Buenos Aires
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Gobierno de la Ciudad Autnoma de Buenos Aires


Jefe de Gobierno
Horacio Rodrguez Larreta
Vicejefe de Gobierno
Diego Santilli
Ministro de Cultura
Daro Loprfido
Subsecretaria de Gestin Cultural
Vivi Cantoni

DIRECCIN FESTIVALES
DE BUENOS AIRES
Silvia Tissembaum

GERENCIA OPERATIVA
DE PRODUCCIN
Paula Niklison

Luis Martelli
Daniela Perez Klein
Isabelle Siegrist

DIRECCIN ARTSTICA BAFICI


Javier Porta Fouz

PRODUCCIN
Milena Barron
Ailn Bosco
Natalia Cols
Martn Frosio
Luis Madril
Xavier Mercado
Martn Rea

RELACIONES
INSTITUCIONALES
Paz Canessa

PRODUCCIN GENERAL
Ailn Bressan
PRODUCCIN EJECUTIVA
Luciana Saffores
PROGRAMACIN
Magdalena Arau
Violeta Bava
Fran Gayo
Agustn Masaedo
David Obarrio
PROGRAMACIN BAFICITO
Juan Manuel Domnguez
COLABORACIN
EN PROGRAMACIN
Jaime Pena
PRODUCCIN ARTSTICA
Coordinacin

Paloma Dema
Equipo

Mnica Prez
Claudia Salcedo

GERENCIA OPERATIVA
DE LOGSTICA
Romina Marson
Coordinacin

Florencia Blanca
Maria Ayeln Decuzzi

Coordinacin

Nicols Carnavale
Asistencia

Florencia Gonzlez Cascio


Pablo Gonzlez Dadone
COORDINACIN TCNICA
Pa Ruiz Luque

Coordinacin General
Ministerio de Cultura

lvaro Rufiner
Coordinacin de Contenidos

Sol Navedo
Coordinacin de
Diseo Grfico

Paula Galli
Coordinacin de
Comunicacin Digital

Equipo

Guido Della Bella

Ariel Cceres
Paula Contrera
Adrin Dragonetti
Abrahan Prieto
Claudio Rogatti

Coordinacin de Prensa

OFICINA DE INVITADOS
Coordinacin

Paz Canessa
Denise Menache
Equipo

Vera Czemerinski
Mara Joao Machado
Marina Moreira
Ana Schmukler
Atencin al Invitado

CINE ARGENTINO

PRENSA Y COMUNICACIN

Gabriela Sofa Flores


Camila Godoy
Noelia Lencina
Paula Repetto
Marina Weins
Interpretacin
en Presentaciones

Julio Fermepin
Marina Lacarta
Danilo Locker

Sofa Andrada
Gustavo Fischer
Administracin,
Logstica y Produccin

Nicole Goldszmidt
Contenidos

Georgina Lima
Constanza Zarnitzer
Coordinacin Audiovisual

Macarena Herrera Bravo


Diseo de Marca

Guido Della Bella


Paula Galli
Diseo Grfico

Martn Borgese
Leonardo Manilow
Carlus Rodrguez
Diseo Editorial

Vernica Roca

Redaccin de Noticias

Guillermo Pintos
Traduccin al Ingls

Cecilia Zabaleta
Realizacin de Videos

Gabriel Starna - Borde Chino


Fotografa

Fernando Dvoskin
Equipo de Prensa

Gastn Mary
Ignacio Navarro
Malena Schnitzer
Agostina Zaros
EDICIN DE CATLOGO
Y GUA DE PROGRAMACIN
Micaela Berguer
Javier Diz
Equipo

Montserrat Callao Escalada


Elena Marina DAquila
Agustn Masaedo
David Obarrio
Sol Santoro DStefano
Traduccin

Agustn Mango
Juan Pablo Martnez
DIARIO SIN ALIENTO
Edicin

Juan Manuel Domnguez


Redaccin

Daniel Alaniz
Maia Debowicz
Sol Santoro DStefano
Guido Segal
Marina Yuszczuk
Correccin

Montserrat Callao Escalada

Equipo

LIBROS [18] BAFICI

Cecilia Loidi
Julin Villagra

Edicin

Diseo Web y Programacin

Traduccin

Alejandro Duarte

Juan Pablo Martnez

Juan Manuel Domnguez

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

staff
PRODUCCIN COMERCIAL
Andrs Mozzi
Franco Orono
Federico Scagliotti
Cayetano Vicentini
ACREDITACIONES
Florencia Babouian

Martin Cmpora
Laura Castro
Agustn Demichelli
Brenda Greco
Federico Guzzetti
Rocio de la Mano
Conrado Negrin
Federico Orlan

Asistencia

Chequeo de Flmico

Julio Sebastin Benavides


Narvez

Victoria Deluca

PROGRAMACIN
EN SALAS
Magdalena Arau
Agustn Masaedo
Miranda Barrn

Constanza Curia

Chequeo de DCP y
Postproduccin
Direccin de Piso

Romina Beraldi
Florencia Marconi
Tcnicos de sala

SUBTITULADO Y VIDEOTECA
Mercedes Amorena
ACTIVIDADES ESPECIALES
Michelle Jacques-Toriglia
Ariana Spenza
Agustn Toscano
DISEO DE ESPACIO
Mara Carew
Eugenia Garcia Castera
Vernica Gilotaux
GALERA BAFICI
Coordinacin y curadura
Gloria Cesar
Juan Manuel Domnguez
Valeria Keller
Ariana Spenza

Julin Tagle

Marcelo Arias
Ezequiel Azambuya
Catalina Ferrari
Malena Gerez
Johanna Jezernicki
Agustina Marquez
Micaela Masetto
Albertina Molares
Camila Navas
Belen Povia
Diego Sanchez

Asistente

Tcnicos de Sala DCP

Natalia Ardissone
Sofa Carmona

Ral Fernandez

Martin Benjamin
Valeria Biglier
Florencia Cammillieri
Sheila Dempsey
Natalia Failde
Georgina Giribaldi
Jesica Jaimes
Daniel Silva

Postproduccin

Grilla

Equipo

Mercedes Arias

Yadira Dez

REA DE PROYECCIN
Coordinacin General

Lucas Iaccarino Szvalb


Coordinacin de
Formatos Digitales

Lautaro Panelo
Coordinacin de Sonido

Arian Frank
Produccin Tcnica

Subtitulado

Roman Elena
Trnsito Interno

Pablo Compagno
Asistencia

Natalia Bianchi
Proyectoristas

Julieta Alsina
Lucio Arana
Brian Bendersky
Santiago Bilardo

TRNSITO INTERNACIONAL
DE COPIAS
Lionel Braverman
Mirna Correa

Diseo grfico

Leonardo Malinow
BUENOS AIRES LAB (BAL)
Direccin
Agustina Costa Varsi
Produccin Artstica

Michelle Jacques-Toriglia
Asistencia

Irene Ovadia
Seleccin Work In Progress (WIP)

Agustina Costa Varsi


Brbara Francisco
Nicols Grosso
REA PROFESIONAL
Coordinacin

Michelle Jacques Toriglia


Asistencia

Irene Ovadia

INFORMES
Coordinacin

Mara Fernanda Moreira


Asistencia

Noelia Cao
Lisandro Outeda
SALAS
Coordinacin

Carolina Piola
Asistencia

Camila Levy Daniel


Geraldina Rauwolf
PREMIO DEL PBLICO
Coordinacin

Mara Julia Bonetto


GERENCIA OPERATIVA
GESTIN DE
OPERACIONES
Ada Barbara
Equipo

Adriana Alonso
Maximiliano Betti
Ricardo Cebeiro
Matas Coto
Patricia Latorre
Deborah Rapoport
Jorge Ribezuk
Paola Romann
Luca Rosa
Carina Stanzione
RECEPCIN
Claudia Klappenbach
SISTEMAS
Eduardo Desanze

Gua del rea Profesional


Correccin

Gabriela Beraj
Traduccin

Juan Pablo Martnez

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

NDICE / INDEX

10

13

FUNCIN DE APERTURA LE FILS DE JOSEPH


OPENING NIGHT

15

FUNCIN DE CLAUSURA MILES AHEAD


CLOSING NIGHT

17

JURADOS / JURIES

27

COMPETENCIA OFICIAL INTERNACIONAL


INTERNATIONAL OFFICIAL COMPETITION

49

COMPETENCIA OFICIAL ARGENTINA


ARGENTINE OFFICIAL COMPETITION

67

COMPETENCIA VANGUARDIA Y GNERO


AVANT-GARDE & GENRE COMPETITION

93

COMPETENCIA LATINOAMERICANA
LATIN AMERICAN COMPETITION

105

COMPETENCIA OFICIAL DERECHOS HUMANOS


HUMAN RIGHTS OFFICIAL COMPETITION

119

COMPETENCIA ARGENTINA DE CORTOS


ARGENTINE SHORT FILMS COMPETITION

129

MUESTRA ARGENTINA DE CORTOS


ARGENTINE SHORT FILMS EXHIBITION

143

NOCHES ESPECIALES
SPECIAL NIGHTS

149

BAFICITO / LITTLE BAFICI

159

BAFICITO - AARDMAN / LITTLE BAFICI - AARDMAN

165

CLSICOS BAFICITO / LITTLE BAFICI CLASSICS

167

CINE PLANETARIO / PLANETARIUM CINEMA

173

TRAYECTORIAS / CAREERS

201

CINEFILIAS / CINEPHILIAS

223

PERSONAS Y PERSONAJES / PEOPLE & CHARACTERS

235

ARQUITECTURA / ARCHITECTURE

243

KARL-HEINZ KLOPF

249

COMER Y BEBER / EAT & DRINK

259

HACERSE GRANDE / COMING OF AGE

269

MSICA / MUSIC

287

PASIONES / PASSIONS

301

ARTES / ARTS

309

NOCTURNA / LATE NIGHT

325

LUGARES / PLACES

339

RESCATES / RESCUES

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

351

FOCOS Y HOMENAJES / FOCUS & HOMAGES

353

PETER BOGDANOVICH

363

PAULO BRANCO

371

RICK ALVERSON

377

BOB BYINGTON

383

FABIN BIELINSKY

389

BRITANNIA LADO B: MARGARET TAIT


BRITANNIA B-SIDE: MARGARET TAIT

395

MATTHEW BARNEY

398

NASTASSJA KINSKI

400

MIRTHA LEGRAND

402

GRACIELA BORGES

404

MICHEL LEGRAND

407

LUCILE HADZIHALILOVIC

411

LEWIS BENNETT

415

DACHI SATO

419

BRITANNIA LADO B: SHAKESPEARE VIVE


BRITANNIA B-SIDE: SHAKESPEARE LIVES

426

GALERA BAFICI / BAFICI GALLERY

429

BAL

461

NDICES / INDEX

462

NDICE POR PELCULA / INDEX BY FILM

464

NDICE POR DIRECTOR / INDEX BY DIRECTOR

466

NDICE POR PAS / INDEX BY COUNTRY

ABREVIATURAS / ABBREVIATIONS
D: Direccin
Director

E: Edicin
Editing

M: Msica
Music

CP: Compaa prodcutora


Production Company

G: Guion
Scriptwriter

DA: Direccin de arte


Production Design

P: Produccin
Producer

F: Fotografa
Cinematography

S: Sonido
Sound

PE: Produccin ejecutiva


Executive Production

I: Intrpretes / Cast

DCP: Paquete de Cine Digital


Digital Cinema Package
DM: Archivo Digital
Digital Media

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

11

PREMIERE AMERICANA / AMERICAN PREMIERE

funcin de apertura / opening night

Le Fils de Joseph
El hijo de Joseph
Verano en Pars. Vincent es un adolescente que vive con su
madre soltera, Marie, quien hasta ahora nunca le revel la
identidad de su padre.

Summer in Paris. Vincent is a teenager living with his single


mom, Marie, who, until now, has never revealed to him the
identity of his father.

Eugne Green es conocido en el Bafici desde hace ms de una


dcada. Su segundo largometraje, Le Monde vivant, estuvo en
Competencia Internacional en 2004, y luego el festival program toda su filmografa posterior. Su obra tiene un sello autoral
inconfundible. Los encuadres, la manera de hablar de los personajes, los cruces con pocas diversas desde el presente. En
Le Fils de Joseph, Green menta el relato bblico para brindar
una magistral comedia luminosa en la que un joven se decide
a buscar a su padre. Por supuesto, su objetivo no podr ser
alcanzado de la forma prefigurada. Es que el mundo de encuadres estticos de Green nunca fue tan vital como en este film,
en el que se re de ms de una impostura del ambiente artstico
contemporneo mientras cuenta una historia de maduracin y
una de amor. Todo eso y mucho ms en esta demostracin cabal de un artista con personalidad y en pleno uso de su talento.
Javier Porta Fouz

Eugne Green has been known at Bafici for more than a decade.
His second feature, The Living World, was part of the International Competition in 2004, and later, the festival programmed
all of his later work, which has an unmistakable authorial mark.
The compositions, the way the characters talk, the links between different periods in time from the present. In Le Fils de
Joseph, Green evokes the biblical tale in order to deliver a masterful, luminous comedy in which a young man decides to look
for his father. Of course, his goal cannot be accomplished in
the prefigured way. Because Greens world of static frames was
never as vital as it is in this film, in which he also laughs at some
impostures of the contemporary art scene while telling a story
about maturing and another about love. All of that and more in
this perfect display of an artist with personality and in full use
of his talent. JPF

Eugne Green
Naci en 1947 en Nueva York, pero se mud a Pars para estudiar literatura, idiomas e historia del arte, y desde 1976 es ciudadano francs.
Dirigi Le Monde vivant (2003; Bafici 04), Correspondences (2007),
A religiosa portuguesa (2009; Bafici 10) y La Sapienza (Bafici 15),
entre otras.
He was born in New York in 1947, but moved to Paris to study literature,
foreign-languages and art history and has been a French citizen since
1976. He directed The Living World (2003; Bafici 04), Correspondences
(2007), A religiosa portuguesa (2009; Bafici 10) and La Sapienza (Bafici
15), among other films.

Francia / Blgica - France / Belgium, 2016


115 / DCP / Color / Francs - French
D, G: Eugne Green F: Raphal OByrne E: Valrie Loiseleux
DA: Paul Rouschop S: Stphane Thibaut M: Adam Michna
Otradovic, Emilio de Cavalieri, Domenico Mazzocchi
P: Francine Jacob, Didier Jacob, Luc Dardenne, Jean-Pierre Dardenne
CP: Coffee and Films, Les Films du Fleuve I: Victor Ezenfis, Natacha
Rgnier, Fabrizio Rongione, Mathieu Amalric, Maria de Medeiros
Contacto / Contact
Les Films du Losange. Marine Goulois
T +33 1 4443 8710
E m.goulois@filmsdulosange.fr W filmsdulosange.fr

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

13

PREMIERE LATINOAMERICANA / LATAM PREMIERE

funcin de clausura / closing night

Miles Ahead
Miles al frente
Don Cheadle reinventa la legendaria figura de Miles Davis en
este biopic que se mueve con la libertad y el lirismo propios
de las composiciones de uno de los msicos ms influyentes
de la historia del jazz.

Don Cheadle reinvents Miles Davis legendary figure in this


biopic that moves forward with the freedom and lyricism of
the compositions by one of the most influential musicians in
jazz history.

Hay que entender una cosa: para Don Cheadle, que acta, escribe, produce y dirige, Miles Davis es prcticamente Tony Stark.
Su Miles Ahead es la fantasa melmana de alguien que vea
en Miles a Iron Man, ya sea aquel de The Birth of Cool o el del
concierto de Osaka de 1975 (el cual abre el film). Esa fascinacin lleva no solo a que Cheadle sea Miles, con su carrasposa
coolness de dios del Olimpo sin dinero para la coca, sino tambin a crear una ficcin de tiros y persecuciones desde la cual
se ven, con movimientos visuales pintorescos, y reales sucesos
de la vida del msico de jazz (msica social, dir Miles). Entre
esa ficcin, en la que el Robin es Ewan McGregor (qu bien le
quedan los setenta!), Cheadle crea una milesploitation enamorada, entre salvaje, sentida y borracha, que nunca osa entender
al gigante. Juan Manuel Domnguez

We have to understand one thing: to Don Cheadle, who acts,


writes, produces and directs, Miles Davis is practically Tony
Stark. His Miles Ahead is the fantasy of a music lover who saw
Iron Man in Miles, whether its that of The Birth of Cool or the
one from the 1975 Osaka concert (which opens the film). Not
only does that fascination lead Cheadle to become Miles, with
the hoarse coolness of a god from the Olympus that cant afford coke; it also leads him to create a fiction of shootouts and
chases from which he covers, with picturesque visual movements, real events from the jazz musicians life (social music, Miles would say). Among that fiction, where Robin would
be Ewan McGregor (the 70s become him!), Cheadle creates a
loving milesploitation thats wild, heartfelt, drunkard, and never
dares to understand the giant. JMD

Don Cheadle
Naci en los Estados Unidos en 1964, y estudi en el California Institute
of Arts. Actu en numerosos films, entre ellos, Juegos de placer (1997),
Traffic (2000) y Iron Man 2 (2010). Debut como director en 2005 con la
pelcula Tishomingo Blues.
He was born in the US in 1964, and studied at the California Institute of
Arts. He acted in a number of films, such as Boogie Nights (1998), Traffic
(2000) and Iron Man 2 (2010). He made his directorial debut with the
film Tishomingo Blues.

Estados Unidos - US, 2015 / 100 / DCP / Color


Ingls - English
D: Don Cheadle G: Steven Baigelman, Don Cheadle
E: John Axelrad, Kayla M. Emter DA: Hannah Beachler
PE: Mark Amin, Steven Baigelman, Cheryl Davis, Erin Davis,
Robert Lewis I: Don Cheadle, Ewan McGregor, Emayatzy Corinealdi,
Lakeith Lee Stanfield, Michael Stuhlbarg
Contacto / Contact
Sony Pictures in Argentina. Cecilia Chiappano
E info@uipargentina.com.ar
W uip.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

15

jurados
juries

jurado competencia oficial internacional


international official competition jury

Graciela Borges
Nacida en Santos Lugares, provincia de Buenos Aires, es una de las actrices ms importantes de
la historia del cine argentino. Desde su debut en Una cita con la vida (Hugo del Carril) particip
en alrededor de cincuenta largometrajes para directores como Leopoldo Torre Nilsson, Leonardo Favio, Luis Saslavsky y Lucrecia Martel. A lo largo de su trayectoria artstica ha recibido
innumerables premios, adems de distinciones como la de Ciudadana Ilustre de la Ciudad de
Buenos Aires.
Born in Santos Lugares, province of Buenos Aires, she is one of the most important actresses
in the history of Argentine film. From her debut in Hugo del Carrils Una cita con la vida, she appeared in about fifty features for such directors as Leopoldo Torre Nilsson, Leonardo Favio, Luis
Saslavsky and Lucrecia Martel. Throughout her career, she has received countless awards, as
well as distinctions as that of Outstanding Citizen of the City of Buenos Aires.

Joo Paulo Cuenca


Naci en Ro de Janeiro, Brasil, en 1978. Escribi cuatro novelas y una antologa de crnicas.
Sus libros han sido traducidos a ocho idiomas. Dos de ellos estn disponibles en espaol: Cuerpo
presente (Dakota, 2016) y El nico final feliz para una historia de amor es un accidente (Lengua
de Trapo, 2013). En los ltimos aos, escribi y dirigi obras de teatro y series de televisin. A
morte de J.P. Cuenca, su primer largometraje, compite en Vanguardia y Gnero en este Bafici.
He was born in Rio de Janeiro, Brazil, in 1978. He is the author of four novels and an anthology
of chronicles. His books have been translated into eight languages. Two of them are available
in Spanish: Cuerpo presente (Dakota, 2016) and El nico final feliz para una historia de amor
es un accidente (Lengua de Trapo, 2013). In recent years he has written and directed plays and
television series. The Death of J.P. Cuenca, his first feature film, competes in this years AvantGarde & Genre Section.

Giulia DAgnolo Vallan


Estudi cine en la Facultad de Filosofa y Letras de Turn, Italia. Luego obtuvo un mster en
Cine y Televisin de la Escuela de Artes Tisch de la Universidad de Nueva York. Trabaj como
programadora y curadora en el Festival de Cine de Turn, del cual fue directora entre 2003 y
2006. Desde 2007 es programadora y miembro del Comit de Seleccin del Festival de Cine de
Venecia. Particip como jurado en varios festivales de cine internacionales y escribi varios libros
y ensayos sobre diversos directores.
She studied film at the Faculty of Arts of Turin, Italy. Then she got a Master in Film and Television
at the Tisch School of Arts at New York University. She worked as a programmer and curator
at the Turin Film Festival, of which she was director between 2003 and 2006. Since 2007,
she is a programmer and member of the Selection Committee of the Venice Film Festival. She
participated as a jury in several international film festivals, and wrote several books and essays
on many directors.

18

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

jurado competencia oficial internacional


international official competition jury

Philippe Lesage
Nacido en Quebec, Canad, estudi en la Universidad McGill de Montreal y en el European Film
College de Dinamarca, donde luego fue profesor. Dirigi los documentales Pourrons-nous vivre
ensemble? (2006), Comment savoir si les petits poissons sont heureux? (2009), Ce coeur qui
bat (2010) y Laylou (2012). Su primer largo de ficcin, Les Dmons, compite en Vanguardia y
Gnero en este Bafici. Tiene otras dos ficciones en camino: Copenhague: A Love Story y Genesis.
He was born in Quebec, Canada, and studied at the McGill University in Montreal and Denmarks
European Film College, where he would later teach. He directed the documentaries Pourrons-nous
vivre ensemble? (2006), How Can You Tell If the Little Fish Are Happy? (2009), The Heart That Beats
(2010) and Laylou (2012). His first fiction features, The Demons, competes in Avant-Garde and
Genre at this Bafici. He has other two fictions in production: Copenhague: A Love Story and Genesis.

Hctor Soto
Nacido en Chile, es crtico de cine, abogado y periodista. A comienzos de los aos setenta dirigi
la revista Primer Plano. Fue editor de publicaciones como Mundo Diners y Enfoque, y uno de
los fundadores de la revista Capital. En 2008 se uni al diario La Tercera como editor cultural y
columnista cinematogrfico, y desde entonces tambin escribe una columna poltica semanal.
Desde hace 15 aos conduce el programa radial Terapia Chilensis. En 2007 public el libro Una
vida crtica.
He was born in Chile and is a film critic, lawyer and journalist. In the early 70s, he directed the
Primer Plano magazine. He edited such publications as Mundo Diners and Enfoque and was one
of the founders of Capital magazine. In 2008, he joined the newspaper La Tercera as editor of
the cultural section and film columnist, and since then has also written a weekly political column.
He has hosted the radio show Terapia Chilensis for the past 15 years. In 2007, he published the
book Una vida crtica.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

19

jurado competencia oficial argentina


argentine official competition jury

Roberto Doveris
Magster en Teora del Arte por la Universidad de Chile, en 2010 fund la compaa productora
Nio Nia Films, con la que ha dirigido ms de treinta videoclips, institucionales para ONGs
y varios cortos seleccionados en festivales internacionales. Actualmente se desempea como
editor general en CinemaChile, la agencia que promociona al cine chileno mundialmente. Su
primer largometraje, Las plantas, result doblemente premiado en la ltima Berlinale y se exhibe
en esta edicin del Bafici.
A master graduate in Art Theory from Universidad de Chile, in 2010 he established the production company Nia Nio Films, where he has directed more than thirty music videos, NGO videos,
and several short films selected at international film festivals. Currently he works as the editor in
chief for CinemaChile, the agency that promotes Chilean cinema in the world. Plants, his feature
film debut, won two awards at the last Berlinale and is screened at this edition of Bafici.

Nathan Fischer
Despus de largos viajes por Asia, pasantas y trabajos en Pars y Los ngeles en empresas
como Anonymous Content y Wild Bunch, entre otras, decidi que era hora de empezar su propio
negocio y, en un par de semanas y con un pequeo prstamo bancario, lanz la distribuidora
internacional de cine Stray Dogs a principios de 2015. Durante su primer ao, las pelculas de
Stray Dogs ganaron alrededor de treinta premios en festivales internacionales de cine.
After extensive travels across Asia, internships and junior positions in Paris and Los Angeles at
companies such as Anonymous Content and Wild Bunch, among others, he decided it was time
to start his own business, and launched the international film distribution company Stray Dogs
in a couple of weeks with a small bank loan in early 2015. During its first year, Stray Dogs films
won around 30 prizes in international film festivals.

Paz Lzaro
Coordinadora de programacin de la seccin Panorama de la Berlinale desde 2006 y miembro del
Comit de Seleccin de Competencia desde 2007, integra como Experta la Junta de la Academia
de Cine Europeo y ha participado como jurado en varios festivales de cine internacionales. Desde
2010 es miembro de la Comisin de Cine Espaol (ICAA) y ha sido curadora de otros programas
como el Cine Club Espaol en Nueva York. Tambin se dedic a la produccin de cine y teatro.
Shes the Panorama Program Manager for the Berlin International Film Festival since 2006 and a
member of the Selection Committee for Competition since 2007. She is part of the Board of the
European Film Academy as an Expert and has served in juries from several film festivals. Since
2010, she has been a member of the Spanish Film Commission (ICAA) in Spain and curated
other commissioned programs like the Spanish Film Club Program in NY. She has also been
engaged in the production of films and plays.

20

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

jurado competencia oficial argentina


argentine official competition jury

Ross Lipman
Premiado cineasta independiente, archivista y ensayista, su obra atraviesa las formas experimentales, narrativas y documentales, y converge en un corpus nico de ensayos personales que
cruzan mltiples plataformas mediticas. Sus pelculas han sido exhibidas en todo el mundo y
sus escritos fueron publicados en numerosos libros y revistas. Tambin es considerado uno de
los principales expertos mundiales en la restauracin de cine independiente.
He is an award-winning independent filmmaker, archivist, and essayist. His works have spanned
experimental, narrative and documentary forms; in recent years coalescing in a unique body of
personal essays that cross multiple media platforms. His films have screened across the globe
and his writings have been published in numerous books and journals. He is also considered one
of the worlds leading experts in the restoration of independent cinema.

Pola Oloixarac
Es la autora de las novelas Las teoras salvajes y Las constelaciones oscuras, traducidas a siete
idiomas. Escribi el libreto de pera Hrcules en el Mato Grosso, que se estren en el CETC del
Teatro Coln y en Nueva York. Fue elegida entre los mejores narradores en espaol por la revista
Granta, y recibi la beca nacional de Literatura del Fondo de las Artes, entre otras. Colabora
con artculos sobre cultura y poltica para The New York Times. Es editora fundadora de Buenos
Aires Review.
She is the author of the novels The Wild Theories and The Dark Constellations, which have been
translated into seven languages. She wrote the libretto for the opera Hercules in Mato Grosso,
which opened at Teatro Colns CETC and in New York. She was chosen among the best narrators
in Spanish by Granta magazine, and received the national scholarship in Literature from the Arts
Fund, among others. She contributes with articles on culture and politics for the New York Times.
She is the founder and editor of Buenos Aires Review.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

21

jurado competencia oficial VANGUARDIA Y GNERO


avant-garde & genre official competition jury

Pablo Conde
Naci en 1973 en Burzaco, provincia de Buenos Aires, y creci en Ushuaia, Tierra del Fuego. Es
cofundador del sitio web Encerrados Afuera, redactor de la revista Los Inrockuptibles y vicepresidente del Cineclub Ushuaia. Tras recibirse de montajista en la ENERC, trabaj en varios productos televisivos como editor, guionista, productor y locutor. De 2009 a la fecha, se desempea
como miembro del comit de programacin del Festival de Cine de Mar del Plata.
He was born in Burzaco, province of Buenos Aires, in 1973, and grew up in Ushuaia, Tierra del
Fuego. He is co-founder of the website Encerrados Afuera, writes for Los Inrockuptibles magazine and is vice-president of Cineclub Ushuaia. After graduating as editor from the ENERC, he
worked in many television products as editor, screenwriter, producer and announcer. From 2009
to date, he has been a member of the programming committee of the Mar del Plata Film Festival.

Dachi Sato
Nacido en Japn, fue cofundador de Double Negative, un colectivo artstico dedicado a la exhibicin y produccin de cine experimental en Montreal, Canad. Sus pelculas forman parte de las
colecciones permanentes del Museo del Cine Austraco y la Cinemateca Eslovena, y han ganado
numerosos premios a nivel internacional, entre ellos el de Mejor Pelcula en Ann Arbor, el Gran
Premio del Jurado en el Festival de Cine Media City y un Tiger Award en Rotterdam.
Originally from Japan, he co-founded Double Negative, an artist collective devoted to the exhibition and production of experimental cinema in Montreal, Canada. His films are in the permanent
collections of the Austrian Film Museum and the Slovenian Cinematheque, and have won several
awards including the Best of the Festival Award at the Ann Arbor Film Festival, the Jury Grand
Prize at Media City Film Festival, and the Tiger Award at the International Film Festival Rotterdam.

Penny Lane
Estudio periodismo y cultura norteamericana en el Vassar College de Nueva York, EE. UU.,
es cineasta y, ocasionalmente, videoartista, escritora, curadora y profesora de cine, video
y nuevos medios artsticos. Adems de cortometrajes como The Abortion Diaries (2005),
dirigi los largos documentales Our Nixon, estrenado en el Festival de Rotterdam 2013,
y Nuts!, premiado en Sundance 2016. Ambos se exhiben en esta edicin del Bafici. Y s,
Penny Lane es su verdadero nombre.
She graduated in American Culture and Media Studies at Vassar College in New York, USA. She
is a filmmaker, and occasional video artist, writer, curator and professor of film, video and new
media art. In addition to short films as The Abortion Diaries (2005), she directed the documentaries Our Nixon, which premiered at the 2013 Rotterdam Film Festival and Nuts!, awarded at
Sundance 2016. Both are screened at this years Bafici. And yes, Penny Lane is her real name.

22

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

jurado competencia oficial LATINOAMERICANA


LATINOAMERICAN official competition jury

Roger Koza
Naci en 1968, es crtico de cine y miembro de FIPRESCI. Publica regularmente en La Voz del
Interior, , Quid y el sitio web Con los Ojos Abiertos. Tambin conduce el programa de televisin
El cinematgrafo. Es programador del FICUNAM mexicano y de la seccin Vitrina del Festival
de Hamburgo, Alemania. Desde 2014 dirige el Festival Internacional de Cine de Cosqun. Fue
jurado en distintos festivales internacionales e interlocutor en clases magistrales de Pelechian
y Akerman, entre otros.
Born in 1968, hes a film critic and member of FIPRESCI. He publishes regularly at La Voz
del Interior, , Quid and the website Con los ojos abiertos. He is also the host of a TV show,
El cinematgrafo. He works as a programmer for FICUNAM, Mexico, and for the Vitrina section
of the Hamburg Festival. Since 2014, hes the director of the Cosqun International Film Festival.
He was a jury member at many international festivals, and took part in master classes with
Peleshyan and Akerman, among others.

Alexandra Rojo
Naci en Buenos Aires en 1966 y sus padres se exiliaron en Francia en 1976. Obtuvo un mster
de Cine en la Universidad de Pars y curs un taller de cine documental. Realiz cortometrajes,
ficciones y documentales como Raoul Ruiz, contre lignorance fiction!, exhibido en esta edicin del Bafici. Ha enseado en La Fmis y en el Conservatorio Nacional de Arte Dramtico de
Estrasburgo. Actualmente es profesora de guion y puesta en escena en el mster de Cine de la
Universidad de Pars 8.
Born in Buenos Aires in 1966, her parents went into exile in France in 1976. She has a Masters
in Film by the University of Paris and attended a documentary film workshop. She made shorts,
fictions and documentaries like Raoul Ruiz, contre lignorance fiction!, shown at this edition
of Bafici. She has taught at Le Fmis and the Strasbourg conservatory. She currently teaches
screenwriting and mise-en-scne at the Film Masters of the University of Paris 8.

Che Sandoval
Naci en Santiago de Chile en 1985. Debut en el cine a los 23 aos con Te cres la ms linda
(pero ers la ms puta), tesis de graduacin exhibida en el Bafici 10 que se convertira en
pelcula de culto. En 2013 dirigi Soy mucho mejor que vos, con la que obtuvo el Premio FEISAL
en el Bafici de ese ao y gan la Free Spirit Competition en el Festival de Varsovia. Actualmente
vive en Buenos Aires y prepara Mucha ex, poco sex, una coproduccin chileno-argentina.
He was born in Santiago de Chile in 1985. He made is film debut at 23 with You Think Youre
the Prettiest, But Youre the Sluttiest, his thesis film shown at Bafici 10 that would become a
cult movie. In 2013, he directed Much Better Than You, with which he won the FEISAL Award at
Bafici that year, as well as the Free Spirit Competition at the Warsaw Film Festival. He currently
lives in Buenos Aires and is preparing Mucha ex, poco sex, a Chilean-Argentine co-production.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

23

jurado competencia derechos humanos


human rights competition jury

Leticia Jorge Romero


Nacida en Montevideo, Uruguay, en 1981, es guionista, directora y productora. Su primer largometraje, Tanta agua (Bafici 15), obtuvo varios premios internacionales y fue estrenado comercialmente
en muchos pases del mundo. Su nuevo proyecto, Alel, se encuentra en fase de produccin. Es
docente de realizacin cinematogrfica en la Universidad de la Repblica y en el Instituto de Actuacin de Montevideo. Desde 2015 coorganiza la muestra de cine Plano Americano.
Born in Montevideo, Uruguay, in 1981, she is a screenwriter, director and producer. Her first feature, So Much Water (Bafici 15) won many international awards and was released commercially
in many parts of the world. Her new project, Alel, is currently in pre-production. She teaches
filmmaking at the University of the Republic and Montevideos Acting Institute. She co-organizes
the film exhibit Plano Americano since 2015.

Joanna Lombardi
Escribi y dirigi los cortometrajes De noche (2009; Mejor Corto en el CONACINE de ese ao) y
Una mujer (2011). En 2012, su primer largo, Casadentro, gan el Zenit de Oro en el Festival de
Cine de Montreal y tambin el FIPRESCI. La pelcula se exhibi en festivales de Espaa, India,
Brasil y Suiza, entre muchos otros pases. En 2014 film su segundo largometraje, Solos, estrenado en Rotterdam 2015 y exhibido en esta edicin del Bafici.
She wrote and directed the shorts De noche (2009; Best Short at that years CONACINE) and Una
mujer (2011). In 2012, her first feature, In House won the Golden Zenith at the Montreal Film
Festival as well as the FIPRESCI award. The film was shown at festivals in Spain, India, Brazil and
Switzerland, among many other countries. In 2014, she made her second feature, Alone, which
premiered at Rotterdam 2015 and will be screened in the current edition of Bafici.

Nicols Prividera
Naci en Buenos Aires en 1970. Es licenciado en Ciencias de la Comunicacin por la UBA y
egresado de la ENERC, donde actualmente se desempea como docente. Ha ejercido tambin
la crtica de cine, y ha dirigido dos pelculas: M (2007, Bafici 15) y Tierra de los padres (2012,
mencin de FIPRESCI Argentina a la Mejor Pelcula Nacional de ese ao). En 2015 public el libro
El pas del cine. Para una historia poltica del Nuevo Cine Argentino.
He was born in Buenos Aires in 1970. He has a Bachelors Degree in Communication Sciences by
the UBA, and graduated from the ENERC, where he currently teaches. He is also a film critic, and
has directed two films: M (2007, Bafici 15) and Fatherland (2012, FIPRESCI Argentina mention
for Best Local Film from that year). In 2015, he published the book El pas del cine. Para una
historia poltica del Nuevo Cine Argentino.

24

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

jurado cortos argentinos


argentine short films jury

Lewis Bennett
Radicado en Vancouver, Canad, ha exhibido sus documentales cmicos en festivales de cine
como el TIFF, Hot Docs y Slamdance. Entre 2012 y 2013 dirigi los cortos Parrot Island, Trevor
the Dinosaur, The Fat Diet, An Afternoon with Alexandra Morton, Shirley Sings, A Brief History of
British Columbia, Asian Gangs y Hey Vancouver, This Is You on Craigslist. En 2015 estren en el
SXSW su primer largo, The Sandwich Nazi. Todos sus films se exhiben en esta edicin del Bafici.
Based in Vancouver, Canada, he has shown his comedic documentaries at film festivals such
as TIFF, Hot Docs, and Slamdance. Between 2012 and 2013, he made the short films Parrot
Island, Trevor the Dinosaur, The Fat Diet, An Afternoon with Alexandra Morton, Shirley Sings, A
Brief History of British Columbia, Asian Gangs, and Hey Vancouver, This Is You on Craigslist. In
2015, he premiered his feature-length debut, The Sandwich Nazi, at SXSW. All of his films are
screened at this years Bafici.

Karl-Heinz Klopf
Nacido en 1956 en Linz, Austria, estudi en la Universidad de Diseo Artstico e Industrial de
esa ciudad y ahora vive en Viena. La principal preocupacin de su prctica artstica son las
construcciones y la vida cotidiana en el mbito urbano. Trabaja con diversos medios, como el
dibujo, la fotografa, las instalaciones y proyectos en el marco de la arquitectura y el urbanismo.
Realiz una docena de films, seis de los cuales se exhiben en el Foco que le dedica este Bafici.
Born in 1956 in Linz, Austria, he studied at the University for Artistic and Industrial Design of that
city and now lives in Vienna. The main concern of his artistic practice is constructed environments and the everyday life in the urban sphere. He works with various media, such as drawing,
photography, installations and projects in the context of architecture and urbanism. He made a
dozen films, six of which are screened at this Baficis Focus on his work.

Jazmn Stuart
Egresada como directora de la Universidad del Cine de Buenos Aires, tambin es actriz. Luego
de escribir y dirigir teatro y cortometrajes, en 2012 codirigi el film Desmadre. En 2014 film su
segunda pelcula, Pistas para volver a casa, protagonizada por rica Rivas y Juan Minujn. Actualmente acta, dirige la serie Depto para UN3TV y escribe tres pelculas: El cuerpo, con Gabriel
Medina; Recreo, con Hernn Guerschuny; y su prximo largo en solitario, La bestia.
A graduate in filmmaking from Universidad del Cine in Buenos Aires, shes also an actress. She
directed and wrote theater plays and short films, and in 2012 she co-directed the feature-length
film Desmadre. In 2014 she directed her second film, Pistas para volver a casa, starred by Erica
Rivas and Juan Minujin. She is currently working as an actress, directing the series Depto for
UN3TV, and writing three film scripts: El cuerpo, with Gabriel Medina; Recreo, with Hernn Guerschuny; and her next solo film La bestia.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

25

jurados no oficiales
non official juries
ACCA

FIPRESCI

(Asociacin de Cronistas Cinematogrficos de la Argentina /

(Federacin Internacional de la Prensa Cinematogrfica /


International Federation of Film Critic)
Federico Karstulovich (Argentina)
Carlota Mosegu (Espaa / Spain)
Ral Ortiz-Mory (Per)

Argentine Film Reviewers Association)


Guillermo Courau
Daniel Cholakian
Javier Luzi

SAE + EDA

ADF
(Asociacin Argentina de Autores de Fotografa
Cinematogrfica / Argentine Association of Cinematographers)
Rogelio Chomnalez
Diego Roblado
Diego Russo
FEISAL
(Federacin de Escuelas de Imagen y Sonido de Latinoamrica /
Image and Sound Schools Federation of Latin America)
Aldo Paparella
Dolly Pussi
Marcelo Trotta

(Sociedad Argentina de Editores Audiovisuales + Asociacin


Argentina de Editores Audiovisuales / Argentine Society of
Audiovisual Editors + Argentine Association of Audiovisual
Editors)
Leandro Aste
Csar Custodio Santos
Anabela Latanzio
SIGNIS
(Asociacin Catlica Mundial para la Comunicacin /
World Catholic Association for Communication)
Miguel ngel Agero (Paraguay)
Florencia Raggi (Argentina)
Elisa Vidal (Argentina)

gifs institucionales
Otra de las novedades de este Bafici: los caractersticos
cortos institucionales tendrn, esta vez, la forma de gifs
animados; el resultado de la intervencin de varios directores sobre su propio material. Porque lo bueno, si breve,
dos veces bueno.

Another novelty in this Bafici: our typical official short


films will now be shaped as animated gifs: a result of
several directors interventions on their own material. As
they say, brevity is the soul of wit.

Flavio Nardini y
Cristian Bernard
76 89 03 (2000)
2 Bafici

Vernica Chen

Gastn Solnicki

Agua (2006)

Sden (2008)

8 Bafici

10 Bafici

Rodrigo Moreno,
Ulises Rosell y
Andrs Tamborino
El descanso (2001)
3 Bafici
Rodrigo Moscoso
Modelo 73 (2001)
3 Bafici
26

Juan Villegas
Sbado (2001)
3 Bafici
Celina Murga
Ana y los otros (2003)
5 Bafici
Martn Rejtman
Los guantes mgicos
(2003)
6 Bafici
Ana Poliak
Parapalos (2004)
6 Bafici

Santiago Giralt, Tamae


Garateguy y Camila Toker
UPA! Una pelcula
argentina (2007)
9 Bafici

Ivn Fund y
Santiago Loza
Los labios (2010)
12 Bafici

Gabriel Medina

Fabin Bielinsky

Los paranoicos (2008)

Nueve reinas (2000)

10 Bafici

18 Bafici

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia oficial internacional


international official competition

PREMIERE MUNDIAL / WORLD PREMIERE

international official competition

La larga noche de Francisco Sanctis


Francisco Sanctiss Long Night
Adaptacin de la novela homnima de Humberto Costantini,
situada en Buenos Aires en 1977. Un hombre recibe, en plena
dictadura, la informacin del paradero de dos personas buscadas por los militares. Ahora tiene la posibilidad de salvarlas,
aunque eso implica arriesgar su propia vida.

An adaptation of Humberto Costantinis homonymous novel,


set in 1977 in Buenos Aires. In the midst of the dictatorship,
a man receives information of the whereabouts or two people who are being searched by the military. Now he has the
chance to save them, although that means risking his own life.

Esta es una pelcula sobre decisiones bajo presin, una presin


ambiente estable, slida, que se mete en la piel, en la respiracin. Un film en el que los marrones y los grises son colores
presentes pero sobre todo estados de nimo. Un relato que
construye su recorrido segn la progresiva toma de decisiones
de su personaje principal, interpretado a la perfeccin por un
Diego Velzquez sutil y contenido. Una apuesta arriesgada que
transmite seguridad, que resuelve una adaptacin literaria con
modos cinematogrficos llevados a cabo con aplomo. Una pelcula argentina que transcurre en los setenta y no se preocupa
por poner en primer plano las gaseosas en botellas de vidrio.
La ambientacin es impecable, pero no es el punto de llegada,
es apenas un aspecto ms de un film trabajado con seriedad,
austeridad y exactitud. Javier Porta Fouz

This is a film about decisions under pressure, an ambient pressure thats stable, solid, that enters the skin and ones breathing.
A film in which browns and grays are present colors but, above
all, states of mind. A story that builds its journey in accordance
to the progressive decision-making of its main character, played
masterfully by a contained, subtle Diego Velzquez. A bold approach that transmits security, that solves a literary adaptation
with cinematic modes carried out with aplomb. An Argentine
film thats set in the 70s but isnt worried about putting glass
soda bottles in the foreground. The setting is impeccable, but
its not the finish line; just one more aspect in a film crafted with
seriousness, austerity and precision. JPF

Directores / The Directors


Andrea Testa naci en Buenos Aires en 1987, y estudi en la ENERC,
donde realiz varios cortometrajes. Dirigi el documental Pibe chorro,
que se estrenar este ao. Francisco Mrquez naci en Buenos Aires
en 1981. Estudi en la ENERC, donde realiz varios cortometrajes. Dirigi
el documental Despus de Sarmiento (2014).
Andrea Testa was born in Buenos Aires in 1987, and studied at ENERC,
where she directed several short films. She directed the documentary
feature Pibe chorro, to be released this year. Francisco Mrquez was
born in Buenos Aires in 1981. He studied at ENERC, where he directed
several short films. He directed the documenatry feature Despus de
Sarmiento (2014).
28

Argentina, 2016 / 76 / DCP / Color / Espaol - Spanish


D, G: Andrea Testa, Francisco Mrquez F: Federico Lastra
E: Lorena Moriconi DA: Julieta Dolinsky S: Abel Tortorelli P: Luciana
Piantanida, Andrea Testa, Francisco Mrquez PE: Luciana Piantanida
CP: Pensar con las Manos I: Diego Velzquez, Laura Paredes,
Valeria Lois, Marcelo Subiotto, Rafael Federman
Contacto / Contact
Pensar con las Manos. Luciana Piantanida
T +54 9 11 3665 1937
E pensarconlasmanos@gmail.com
W pensarconlasmanos.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial internacional

La noche
The Night
Un camino vertiginoso, infinito y nico por todos los reveses
nocturnos. Sexo, drogas y bebidas se alternan entre encuentro y encuentro, creando un continuado sin tapujos, frente a
una cmara tan curiosa como audaz, que se atreve a recorrerlo todo.

A vertiginous, infinite and unique walk through every nighttime


setback. Sex, drugs and drinking alternate between encounter and encounter, creating a above-board follow-on in front
of a camera as curious as it is audacious, that dares to cover
everything.

Extraordinaria en el sentido estricto del trmino, La noche exhibe una frialdad clnica y la secreta conviccin de que el cine es
el instrumento de lo irrepetible. El director recorre la noche para
protagonizar una maratn interminable de encuentros sexuales,
ingesta de drogas, alcohol y amistades casuales, y as encontrar
la diferencia en el flujo incesante de una rutina que funciona
como refutacin y conjuro de la vida ordinaria. Las imgenes
de Castro ostentan un halo de verdad y belleza insospechada
que asaltan al espectador con una fuerza que la mayor parte del
cine existente deja de lado, acaso por pudor o por simple falta
de coraje. La cmara pegada al cuerpo, el fuera de foco y el
sonido ambiente forjan un viaje impiadoso cuyo destino podra
ser el encuentro fugaz con los propios fantasmas, sin epifanas
ni comentario moral alguno. David Obarrio

Extraordinary in the strictest sense of the term, La noche displays a clinical coldness as well as the secret conviction that
film is the instrument of the unique. The director travels the
night in order to lead an endless marathon of sexual encounters,
drug-taking, alcohol and casual friendships and finally finding
the difference in the incessant flow of a routine that works as
rebuttal and conjuring of ordinary life. Castros images give out
an aura of unsuspected truth and beauty and assault the viewer
with a strength that most films put aside, perhaps out of modesty, or maybe for lack of courage. The camera glued to the body,
out-of-focus shots and ambient sound shape an impious journey whose destination could be the brief encounter with ones
own ghosts, without no epiphanies or moral commentary. DO

Edgardo Castro

Argentina, 2016 / 135 / DCP / Color / Espaol - Spanish

Naci en Buenos Aires en 1970. Se ha desempeado como director,


actor y artista visual. Trabaj en cine junto a Martn Rejtman, Mariano
Llins, Diego Lerman, Albertina Carri y Alejo Moguillansky, entre otros.
Es integrante fundador del Grupo KRAPP (danza-teatro) surgido en el ao
2000. La noche es su pera prima.
He was born in Buenos Aires in 1970. He has worked as a director, actor
and visual artist. He worked in film with Martn Rejtman, Mariano Llins,
Diego Lerman, Albertina Carri and Alejo Moguillansky, among others. He
is founder of the KRAAP Group (dance-theater), which started in the year
2000. The Night is his first film.

D, G: Edgardo Castro F: Soledad Rodrguez E: Miguel de Zuvira


S: Gabriel Barredo, Guillermo Lombardi, Juan Martn Jimena,
Monociclo Estudio P: Florencia de Mugica, Edgardo Castro, Agustn Torre
PE: Florencia de Mugica, Edgardo Castro CP: Bomba Cine,
El Pampero Cine I: Dolores Guadalupe Olivares, Edgardo Castro,
Federico Figari, Paula Ituriza, Willy Prociuk, Luis Leiva
Contacto / Contact
Bomba Cine. Florencia de Mugica
T +54 9 11 5053 5821 E flordemugica@gmail.com
W bombacine.flavors.me

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

29

PREMIERE MUNDIAL / WORLD PREMIERE

international official competition

Vivir en tu recuerdo
I Will Live with Your Memories
Casi quince aos despus de Yo no s qu me han hecho tus
ojos, uno de sus directores reencuentra el material flmico
perdido de su primer encuentro con Ada Falcn. Una escena
muda dispara su bsqueda por descifrar el enigma de la voz
ausente, en un viaje emocional en el que el cine se convierte
en un camino para desandar el tiempo.

Almost fifteen years after I Dont Know What Your Eyes Have
Done to Me, one of its directors reunites with the lost footage
of their first encounter with Ada Falcn. A silent scenes
triggers his search in order to decipher the enigma of the
absent voice, in an emotional journey where film becomes a
path to retrace time.

Sergio Wolf vuelve al territorio inasible de su primera pelcula (Yo


no s qu me han hecho tus ojos) con una delicadeza y una gracia que resultan tan estimulantes como poco habituales. Vivir
en tu recuerdo gira en torno a una obsesin: una escena sin sonido descartada de aquella pelcula se convierte en el motor de
esta nueva incursin del director en la vida secreta de Ada Falcn, la cantora tempranamente recluida, aislada y olvidada por
todo el mundo, salvo por un puado de estetas compulsivos. Ada
ya no est entre los vivos, esas palabras faltantes se han vuelto
un enigma. La pelcula es una indagacin potica sobre las posibilidades del cine a la hora de establecer el estatuto de verdad
en lo que vemos en la pantalla, y le recuerda al espectador el
poder de persuasin de las imgenes, ese magma sensible en el
que los muertos bailan y recuperan la voz. David Obarrio

Sergio Wolf returns to the unattainable territory of his first film


(I Dont Know What Your Eves Have Done To Me) with a delicacy and grace that are both stimulating and unusual. I Will Live
With Your Memories revolves around an obsession: a soundless
scene discarded from that film becomes the engine for this new
incursion by the director into the secret life of Ada Falcn, the
early secluded and isolated singer, forgotten by everyone but a
handful of compulsive aesthetes. Ada is no longer among the
living, and those silenced words have become an enigma. The
film is a poetic investigation on the possibilities of cinema when
retrieving truth to the things we see on the screen, and reminds
viewers of the power of persuasion of the image, that sensible
magma where the dead dance and find their voices back. DO

Sergio Wolf
Nacido en Buenos Aires en 1963, estudi comunicacin en la UBA. Dirigi junto a Lorena Muoz Yo no s qu me han hecho tus ojos (Bafici
03), con Alejo Taube la triloga documental Ritos de frontera (2002) y,
en solitario, El color que cay del cielo (Bafici 14). Fue programador del
Bafici de 2005 a 2007, y su director artstico entre 2008 y 2012.
Born in Buenos Aires in 1963, he studied communication at the UBA. He
co-directed I Dont Know What Your Eyes Have Done to Me (Bafici 03)
with Lorena Muoz, the documentary trilogyRitos de frontera (2002) with
Alejo Taube and, by himself, The Color Out of Space. He was a programmer at Bafici between 2005 and 2007, and its artistic director between
2008 and 2012.
30

Argentina, 2016 / 62 / DCP / Color & B&N / Espaol - Spanish


D, G, P: Sergio Wolf F: Fernando Lockett E: Hernn Rosselli
S: Emilio Iglesias M: Gabriel Chwojnik PE: Gabriel Kameniecki
I: Ada Falcn, Miguel Zavala, Edgardo Cozarinsky, Fernando Vega,
Sabrina Grinschpun CP: FUC, El Desencanto Film, MC Producciones SRL
Contacto / Contact
Sergio Wolf
T +54 9 11 5180 1553
E sergiodwolf@gmail.com ~ gabriel.kameniecki@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial internacional

Girl Asleep
Chica dormida
Greta est por cumplir 15 aos y no soporta dejar atrs su niez. Pero despus de su fiesta deber encontrarse a s misma
en un mundo incomprensible, ertico y un poco violento.

Greta is about to turn 15 and cant bear to leave her childhood


behind. But after her party, she will have to find herself in an
incomprehensible, erotic, somewhat violent world.

Cambiarse de escuela, hacer amigos (y enemigos) nuevos,


despertar al sexo, seguir teniendo la misma familia tpicamente
disfuncional de siempre: temores y temblores comunes entre las
chicas de 14 aos de aqu y de all, y tambin de la colorida
Australia setentosa que inventa Rosemary Myers. Pocas peras
primas tienen tanta confianza en sus recursos como Girl Asleep,
y menos todava tantos fundamentos para esa confianza. Actores (y sobre todo actrices) en estado de gracia, coreografas
multitudinarias, gags, persecuciones trepidantes, surrealismo,
erotismo, la Alicia de Carroll y las criaturas de Donde viven los
monstruos son algunos de los ingredientes que le dan forma, milagrosamente delicada y sutilmente profunda, al coming of age
ms extraordinario que van a ver este ao. Agustn Masaedo

Changing schools, making new friends (and enemies), waking


up to sex, retaining the same old typically dysfunctional family:
fears and tremors common between 14-year-old girls here and
there, and also those from the colorful 70s Australia invented by
Rosemary Myers. Few first features have as much confidence in
its resources as Girls Asleep, and fewer still have as much basis
for that confidence. Actors (and, above all, actresses) in a state
of grace, multitudinous choreographies, gags, frantic chases,
surrealism, eroticism, Carrolls Alice and the creatures from
Where the Wild Things Are are just some of the ingredients that
give a miraculously delicate and subtly deep shape to the most
extraordinary coming-of-age youll see this year. AM

Rosemary Myers

Australia, 2015 / 77 / DCP / Color / Ingls - English

Es la directora artstica de Windmill Theatre, una galardonada compaa


de artes escnicas con sede en Adelaide, en el sur de Australia. Sus
crditos como directora para la compaa incluyen Pinocchio y The
Wizard of Oz.
Shes the artistic director of Windmill Theatre, an award winning theater
company based in Adelaide, South Australia. Her director credits for the
company include Pinocchio and The Wizard of Oz.

D: Rosemary Myers G: Matthew Whittet F: Andrew Commis


E: Karryn De Cinque DA: Jonathan Oxlade S: Pete Best
M: Harry Covill P: Jo Dyers PE: Teena Munn CP: Soft Tread
Enterprises, Windmill Theatre Company I: Bethany Whitmore,
Harrison Feldman, Matthew Whittet, Amber McMahon, Eamon Farren
Contacto / Contact
Artscope. Sata Cissokho
T +33 153 349 020
E sata@memento-films.com
W memento-films.com ~ girlasleepfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

31

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

international official competition

Paradise! Paradise!
Paradies! Paradies!
Paraso! Paraso!
En 1991, Kurdwin y sus padres se vieron obligados a huir de
Irak. Aos despus, su padre enfermo decide ir a visitar a sus
parientes a la ciudad de Dohuk para comprar una propiedad
all. Su hija lo acompaa, cmara en mano, mientras visitan
agentes inmobiliarios y soldados en zona de guerra.

In 1991, Kurdwin and his parents were forced to flee from Iraq.
Years later, his sick father decides to visit relatives in the city
of Dohuk in order to buy a property there. His daughter comes
along, carrying a camera, while they visit real estate agents
and soldiers in a war zone.

Kurdwin Ayub registra la intimidad de un viaje junto a su padre.


Visitas a la familia se alternan con paseos inmobiliarios en los
que se busca el departamento ideal: la voluntad de su padre,
que ya est planeando un retiro, es encontrar un lugar para finalmente regresar a ese territorio sin Estado que orgullosamente llama patria. Mientras se suceden los juegos entre nios,
los bailes y las comidas en familia, el fantasma de una guerra
sin pausa pareciera filtrarse por debajo de la puerta. Los atractivos tursticos en los que posan para una foto incluyen, casi
como accidentes geogrficos, los huecos que dejan las bombas
al abrir el pavimento; como si a cada paso se fuese abriendo
la tierra, el tour deviene en una imagen en la trinchera, tan real
como las sesiones entre nios que juegan a vctimas, justicieros
y verdugos, mientras la msica suena fuerte y la cmara no deja
de grabar. Magdalena Arau

Kurdwin Ayub captures the intimacy of a trip she made with her
father. Family visits alternate with real estate tours searching for
an ideal apartment: her fathers will, as hes planning to retire,
is to find a place so he can finally return to that stateless territory he proudly calls homeland. The ghost of an endless war
seems to slip through under the door, amidst child play, dances,
and family meals. The touristic attractions where they pose for
photos include the holes left by gravel-breaking bombs, almost
like geographic accidents. As if the earth opened up on each
step of the way, the tour becomes a trench image as real as
the game sessions where kids play and pretend to be victims,
avengers, and murderers, while the music blasts and the camera keeps recording. MA

Kurdwin Ayub
Naci en Irak y se cri en Viena. Dirigi alrededor de una docena de
cortos, exhibidos en el programa que le dedic el Bafici 13.
She was born in Iraq and was raised in Vienna. She directed around a
dozen short films that were screened in the short film program Bafici 13
dedicated to his work.

32

Austria, 2016 / 78 / DCP / Color / Alemn - Ingls - Kurdo rabe / German - English - Kurdish - Arabic
D, G, F, DA: Kurdwin Ayub E: Nooran Talebi S: Rudolf Potoschnig
P: Rudolf Takacs, Lixi Frank PE: Lixi Frank, Rudolf Takacs
CP: Rudolf Takacs & Rudolf Frank I: Kurdwin Ayub, Omar Ayub
Contacto / Contact
sixpackfilm. Dietmar Schwarzer
T +43 1 526 0990
E dietmar@sixpackfilm.com
W sixpackfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia oficial internacional

Je me tue le dire
Death by Death
Me mato dicindolo
Este film explora la compleja relacin entre una madre y su
hijo hipocondraco, que se preocupa cada vez ms por su salud. Cuando a ella le diagnostican cncer, sus vidas se convierten en una carrera para ver quin morir primero.

The film explores the complex relationship between a mother and a hypochondriac son increasingly worried about his
health. When shes diagnosed with cancer, their lives become
a race to see who will die first.

Comedia negra y en blanco y negro, Je me tue le dire est


muy lejos de usar esas caractersticas como atajo fcil y como
destino limitado. Los negros y los grises son su fondo de coccin para desarrollar una pelcula en la que los personajes importan, son seres sufrientes y gozantes. Humanos hiperblicos
que en sus intensidades, sus exageraciones y sus hipocondras
el protagonista es una caja de resonancia peluda de estos
temores juegan sus relaciones: las de pareja y aqu central
y emocionante la de madre e hijo. Je me tue le dire acierta
donde muchas otras pelculas con puntos de partida similares
se resquebrajan: la sorprendente pera prima de Xavier Seron
combina el humor con la absurdidad, no anula ni se distancia
de las emociones, y se constituye como una singular comedia
negra sentimental. Javier Porta Fouz

A black comedy in black and white, Je me tue le dire is far


from being the kind of film that uses those features as shortcuts
or a restricted goal. The black and gray tones are its melting
pot for developing a film in which characters matter. They are
people who can suffer and enjoy, hyperbolic humans whose intensities, exaggerations, and hypochondriac natures the main
character is a hairy sounding board for those kinds of fears
stake their relationships: their love affairs and most especially
and movingly their mother-daughter connections. Death by
Death gets it right where most films with similar starting points
break down: Xavier Serons surprising first film combines humor
with absurdity without cancelling or detaching itself from emotions, and stands as a unique sentimental black comedy. JPF

Xavier Seron
Despus de estudiar derecho, ingres en el Instituto de Radiodifusin
y Artes en 2001. En 2005, Nada insoluble, su pelcula de graduacin,
fue premiada en numerosas ocasiones y seleccionada en el Festival
de Cine de Venecia.
In 2001, and after studying law, he got into the Artes Broadcasting Institute. In 2005, Nada insoluble, his thesis film, won a number of awards
and was selected for the Venice Film Festival.

Blgica / Francia - Belgium / France, 2016 / 90 / DCP / B&N /


Francs - French
D: Xavier Seron P: Olivier Dubois CP: Novak Production
I: Jean-Jacques Rausin, Myriam Boye
Contacto / Contact
Stray Dogs. Nathan Fischer
T +33 65994 1284
E nathan@stray-dogs.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

33

international official competition

O espelho
The Mirror
El espejo
Por un llamado misterioso, un hombre es impulsado a entrar
en una quinta abandonada. El encuentro con una mujer desata
una inquietante experiencia en la que los recuerdos y los sueos parecen exhibir un poder narctico. Basada en el cuento
annimo de Machado de Assis.

Due to a mysterious phone call, a man is forced to enter an


abandoned country house. His encounter with a woman paves
the way for a disturbing experience in which memories and
dreams seem to display a narcotic kind of power. Based on the
story by Machado de Assis.

La pelcula de Lima parece tallar imgenes que provienen del


sueo, o de una vigilia que se comporta como si no lo fuera.
Los actores parecen en trance. Los planos son de una belleza evidente y de una pertinencia que solo responde a los
trminos que esta pelcula formidable ha establecido para s;
recuerdan un estado del cine en el que todo est an por
hacerse. Un hombre que sigue a una mujer puede servir como
comienzo de cualquier historia como el trazo al azar del rase una vez. Con eso Lima sugiere el inicio de todas las
historias, para luego ofrecerle al espectador la incertidumbre
acerca del estatuto de lo narrado. La irrupcin de material en
Super 8 enrarece la pelcula, se invierten los roles, lo cotidiano
se vuelve extrao. O espelho devuelve imgenes de una perplejidad suprema. David Obarrio

Limas film seems to carve images originated in dreams, or in


a state of being awake that behaves as if it wasnt so. Actors
seem to be in a trance. The shots are clearly beautiful and pertinent within the terms as this formidable film has established
for itself they remind us of a state of cinema where everything
is yet to be invented. A man following a woman can serve as a
beginning for every story, like the randomly brushed Once upon
a time, Lima suggests with that the origin of every story, and
then offers to the viewers the uncertainty regarding the nature
of what is narrated. The irruption of Super 8 footage rarifies the
film, as roles get inverted, and everyday life becomes a strange
thing. The Mirror reflects images of supreme perplexity. DO

Rodrigo Lima
Naci en Ro de Janeiro en 1975 y se gradu como periodista. Comenz su carrera como editor trabajando en films de Jlio Bressane como
Cleopatra (2007) y Educacin sentimental (2013). Dirigi el cortometraje
Para Eva (2009). O espelho es su primer largometraje como realizador.
He was born in Rio de Janeiro in 1975 and graduated as a journalist.
He started his career as an editor working in Jlio Bressane film, like
Cleopatra (2007) and Sentimental Education. He directed the short Para
Eva (2009). The Mirror is his first feature as a director.

34

Brasil - Brazil, 2015 / 65 / DCP / Color


Portugus - Portuguese
D, G, E: Rodrigo Lima F: Pablo Hoffmann
DA: Elaine Soares de Azevedo S: Damio Lopes M: Guilherme Vaz
P: Julio Bressane, Bruno Safadi PE: Fernanda Romero, Jura Capela
CP: TB Produes I: Ana Abbott, Augusto Madeira
Contacto / Contact
TB Produes. Bruno Safadi
T +55 21 988 618 880
E tbproducoes@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial internacional

The People Garden


El jardn de las personas
Protagonizada por las hermosas Dree Hemingway y Pamela
Anderson, esta pelcula cuenta la historia de Sweetpea, una
actriz que viaja a Japn para reencontrarse con su novio rockero. Cuando llega se entera de que l ha desaparecido mientras filmaba un videoclip en un misterioso bosque japons.

A film starring the beautiful Dree Hemingway and Pamela Anderson that tells the story of Sweetpea, an actress who travels
to Japan to reunite with her rocker boyfriend. At her arrival,
she learns he has disappeared while shooting a music video in
a mysterious Japanese forest.

Sweetpea llega a Japn para encontrarse con su novio, un


rockstar tan hermoso como ella. Lo espera en el aeropuerto,
pero l nunca llega, y tampoco contesta sus llamadas. En su
reemplazo est Mak, quien parece haber sido enviado para hacer de chofer. La conduce hasta la entrada del bosque en el que
supuestamente van a encontrarse, con una cinta y un par de
indicaciones como nica gua. Una vez all, la pelcula avanza
mientras Sweetpea, a tientas, trata de entender qu es lo que
pasa. Hombres misteriosos que ofician de guardaparques, personas que desaparecen sin dejar huella, caminatas entre paisajes imponentes, una mujer fatal que solo alimenta sospechas:
todo gravita en torno al rodaje del videoclip del artista perdido,
que parece seguir en marcha como si no hubiera otra opcin
posible. Magdalena Arau

Sweetpea arrives in Japan to meet her boyfriend, a rockstar


as beautiful as she is. She waits for him at the airport but he
doesnt show up or answers her calls. His replacement is Mak,
who appears to have been sent there as a driver. He takes her
up to the entrance of the woods in which they will supposedly
meet, with only a ribbon and a couple of directions as reference. Once there, the film moves forward as Sweetpea blindly
tries to understand whats going on. Mysterious men working
as park rangers, people disappearing without a trace, walking
tours through stunning landscapes, a femme fatale who looks
nothing but suspicious: everything revolves around the shoot of
a music video of the lost artist, who appears to keep going as if
he didnt have a choice. MA

Nadia Litz
Naci en Canad en 1976. Estudi cine en la Universidad de Nueva York
y trabaj como actriz en varios largometrajes y series de televisin.
She was born in Canada in 1976. She studied filmmaking at the University of New York and worked as an actress in several films and TV series.

Canad - Canada, 2016 / 80 / DCP / Color


Ingls / Japons - English / Japanese
D, G: Nadia Litz F: Catherine Lutes E: Simon Ennis DA: Zosia
Mackenzie S: Claudia Pinto M: Dirty Bitches P: Daniel Bekerman,
Coral Aiken, Jonathan Bronfman PE: Emily Alden, David Joseph Anselmo,
Mark Gingras, Ethan Lazar, Heidi Levitt, Lon Molnar CP: Scythia Films,
Aiken Heart Films, JoBro Productions I: Dree Hemingway, Jai West,
Pamela Anderson, James Le Gros, Franois Arnaud
Contacto / Contact
Scythia Films. Daniel Bekerman. T +1 416 897 5211
E scythiafilms@gmail.com W scythiafilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

35

PREMIERE AMERICANA / AMERICAN PREMIERE

international official competition

Communication & Lies


So-tong-gwa geo-jit-mal
Comunicacin y mentiras
Un hombre y una mujer con su ego herido emprenden un viaje
juntos, pero al poco tiempo ella decide regresar a Sel. Unos
das ms tarde, el hombre va a visitarla a su oficina y descubre
que ella ya no trabaja all.

A man and a woman with a case of low self-esteem embark on


a trip together, but shortly after, she decides to return to Seoul.
A few days later, the man visits her in her office and discovers
she no longer works there.

No descubrimos la plvora si afirmamos que el universo paralelo de los festivales de cine ha entrado en un proceso de autocomplacencia en el que las obras maestras se anuncian como
tales casi desde el primer da de filmacin. En ese contexto
es una gran noticia encontrarse con una disonancia hermosa
como la pera prima de Lee Seung-won, un film de amour fou
con todos los ingredientes necesarios y en dosis siempre excesivas: muerte, destruccin, deseo, traumas, mentiras, locura,
sumisin, a lo que se suma una pareja protagnica en estado de
gracia. Melodrama arrebatador y autodestructivo, Communication and Lies es un film con tripas de los que alejan consensos;
un animal furioso e indomable que nos habla de dos barcos
en llamas que se cruzan en la noche, espectculo tan sublime
como condenado al naufragio. Fran Gayo

Were not really inventing the wheel if we say the parallel universe of film festivals has entered a self-compliance process
where masterpieces are announced as such even on their very
first day of shooting. In that context, its big news that weve
found such a beautiful dissonance as Lee Seung-wons debut
film, an amour fou film with all the necessary ingredients in constantly excessive amounts: death, destruction, desire, trauma,
lies, madness, submission, and a leading couple in a state of
grace. A breathtaking, destructive melodrama, Communication
and Lies is a gutsy film, one that stays away from consensus.
Its a furious untamed animal that talks to us about two flaming
ships crossing each other in the night a spectacle as sublime
as it is doomed to shipwreck. FG

Lee Seung-won
Dirigi varias obras de teatro y musicales. Este es su debut como realizador cinematogrfico.
He directed many plays and musicals. This is his debut as a filmmaker.

Corea del Sur - South Korea, 2015 / 103 / DCP / B&N


Coreano - Korean
D, G: Lee Seung-won F: Ji Seung-woo E: Choi Yong-woon
S: Ki Seung-pil, Lee Jong-ho P: Kim Sang-su PE: Kim Sang-su
CP: Surplus Project I: Jang Sun, Kim Kwon-hoo, Kim Sun-young
Contacto / Contact
M-Line Distribution. Mathilda Lee
T +82 2796 2427
E sales@mline-distribution.com
W mline-distribution.com

36

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial internacional

In the Last Days of the City


Akher ayam el medina
En los ltimos das de la ciudad
En el centro de El Cairo en 2009, Khalid lucha para realizar una
pelcula que capture el alma de su ciudad mientras encara la
prdida de su propia vida. Junto a sus amigos, que le envan
imgenes de sus vidas en Beirut, Bagdad y Berln se enfrenta
una regin al borde del abismo filmando la dificultad y la belleza
de la vida.

Downtown Cairo, 2009. Khalid is struggling to make a film that


captures the soul of his city while facing loss of his own life.
Together with his friends, who send him footage from their
lives in Beirut, Baghdad and Berlin, he confronts a region on
edge through filming the difficulty and beauty of life.

La bsqueda de un departamento con techos altos, el encuentro con la mujer amada antes de que se vaya para siempre, las
visitas al hospital donde descansa mam, el abrazo al amigo
que vuelve a Beirut o Bagdad o Berln: todas formas del adis
para Khalid, fragmentos de la despedida a una ciudad que pronto ser otra, irreconocible y ajena. El Cairo, en ese invierno de
2009, est a punto de estallar aunque nadie lo sepa todava;
aunque la agitacin callejera tenga ms que ver con partidos de
ftbol y demoliciones de edificios que con el descontento social
que llevar a la Plaza Tahrir. El malestar, en todo caso, toma la
forma de la incertidumbre, de una rara nostalgia del futuro y la
melancola de comprobar que las ciudades, como las personas,
cambian pero siguen siendo las mismas. Agustn Masaedo

The search for an apartment with high ceilings; a meeting with


the woman he loves right before she leaves forever; visits to a
hospital where his mom is resting; a hug with a friend who is
returning from Beirut, or Bagdad, or Berlin: for Khalid, these are
all forms of goodbye, fragments of his farewell to a city that will
soon change and become unrecognizable, and strange. In the
winter of 2009, Cairo is about to explode even if no one knows
it yet; even if the street riots are more connected with soccer
matches and building demolitions than the social unrest that
will lead to Tahrir Square. The unease, in any case, will take the
shape of uncertainty, a weird nostalgia for the future, and the
melancholy of realizing that cities, like people, change and yet
remain the same. AM

Tamer El Said
Naci en El Cairo, Egipto, en 1972, y en 2007 fund la productora Zero
Production. Escribi, produjo y dirigi varios cortos y el largometraje
documental Take Me (2004).
He was born in Cairo, Egypt, in 1972, and founded the production
company Zero Production in 2007. He wrote, produced and directed
several short films, as well as the documentary feature Take Me (2004).

Egipto - Egypt, 2016 / 118 / DCP / Color


rabe - Arabic
D: Tamer El Said G: Tamer El Said, Rasha Salti F: Bassem Fayad
E: Mohamed Abdel Gawad DA: Salah Marei S: Victor Bresse
M: Amlie Legrand P: Tamer El Said, Khalid Abdalla
CP: Zero Production I: Khalid Abdalla, Laila Samy, Hanan Youssef,
Maryam Saleh, Hayder Helo
Contacto / Contact
Still Moving. Pierre Menahem
T +33 6 6208 8179 E pmenahem@stillmoving.fr
W stillmoving.fr ~ lastdaysofthecity.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

37

PREMIERE AMERICANA / AMERICAN PREMIERE

fuera de competencia - out of competition

international official competition

Oleg y las raras artes


Oleg and the Rare Arts
Incursin en el universo personal, mental y creativo de un
artista nico que, a sus 89 aos, contina siendo una figura
enigmtica para la cultura no solo rusa, sino de todo el mundo.

A foray into the personal, mental and creative universe of a


unique artist who, at 89, continues being not only an enigmatic
figure for Russian culture, but also for culture in general.

En los momentos en que el reino de lo humano me parece


condenado a la pesadez, pienso que debera volar como Perseo a otro espacio. As enuncia Calvino su propuesta por la
levedad, y pareciera a la vez definir el territorio de esta pelcula,
que abraza en sus formas a los palacios y a los bosques, a las
raras artes de Oleg, hechas de msica y palabras, de sentidos
nuevos y movimientos de aire. La cmara lo sigue por un parque. Oleg pide que encuadren un tronco talado para que pueda
verse cmo supo ser su rbol; insiste con la certeza de que,
conjurando lo imposible, el rbol volver a la vida. Rara magia la
de esta pelcula: afirmacin de un mundo que la cmara recorre
con la misma levedad con que Oleg camina, con sus brazos
cruzados, mirando a los viejos amigos de un tiempo presente y
pasado. Magdalena Arau

When the kingdom of human seems doomed to heaviness,


I think I should fly like Perseus to a different space. This is
how Calvino enunciates his advocacy for levity, while appears
to be defining the territory of this film, whose form embraces
palaces and forests, and Olegs strange art, made of music and
words, new feelings and air movements. The camera follows
him through a park. Oleg asks the camera to frame a chopped
down log so we can see the way his tree used to be he insists
with certainty that the tree will start living again by conjuring the
impossible. A strange magic is present in this film: the affirmation of a world covered by the camera with the same lightness
Oleg uses to walk, with his arms crossed and looking at his old
friends from a present and past time. MA

Andrs Duque
Nacido en Venezuela en 1972, vive y trabaja en Barcelona, Espaa. Es
licenciado en Periodismo, realiz un mster en Documental Creativo y
dirigi, entre otras, Ivn Z (2005), Paralelo 10 (2005), y Color perro que
huye (2011).
Born in Venezuela in 1972, he lives and works in Barcelona, Spain. He
has a degree in journalism, did a Masters in Creative Documentary Filmmaking and directed Ivn Z (2005), Paralelo 10 (2005), and Color perro
que huye (2011).

38

Espaa - Spain, 2016 / 67 / DCP / Color / Ruso - Russian


D, G: Andrs Duque F: Carmen Torres E: Flix Duque
S: Boris Alexseev M, I: Oleg Karavaichuk P: Marta Andreu, Tnia Ball,
Serrana Torres, Lus Miarro PE: Marta Andreu, Tnia Ball,
Serrana Torres CP: Intropa Media, Estudi Playtime
Contacto / Contact
Intropa Media, Estudi Playtime. Tnia Ball,
Serrana Torres, Marta Andreu
T +34 637 925 405
E taniaballo@gmail.com ~ marta@playtime.cat
W intropiamedia.com ~ playtime.cat

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial internacional

Verengo
En una grabacin familiar de hace casi 25 aos, un nio juega
con la cmara de su padre. Ya adulto, vuelve al lugar de los
hechos para reflexionar sobre el efecto del paso de los aos,
en un espacio en el que el tiempo parece detenido. El ciclo de
la vida visto por su protagonista y espectador.

In a 25 years-old home video, a kid insistently asks his dad


if he can play with the camera. Once an adult, he returns to
that place to reflect on how all those years that passed have
affected a place where time seems to have come to a halt. The
cycle of life as seen by its protagonist and spectator.

Todas las pelculas tienen (o deberan tener) un disparador. Tras


un tiempo de haber estado viviendo alejado de su tierra, Vctor
Hugo Seoane vuelve a casa y recibe de su padre un VHS en el
que estn registrados varios aos de la vida de su familia. Ese
momento, suerte de transmisin oral entre padre e hijo, pone en
marcha un film de clara vocacin sensual en el que la sonoridad
de los dilogos, el olor del incienso en la iglesia o las manos de
quien cocina son dotados de una importancia inusitada. A partir
de su propia familia, a partir de los rostros de sus mayores,
de las celebraciones y rituales en los que todos llevan dcadas participando, Seoane logra en Verengo reconstruir (quizs
deberamos decir inventar) un mundo en el que refugiarse del
implacable paso del tiempo. Fran Gayo

Every film has (or should have) a trigger. After some time living
away from his homeland, Vctor Hugo Seoane returns home
and receives from his father a VHS containing several years
of his family life recorded. Sort of an oral transmission from
father to son, that precise moment sets off a film with a clear
sensual drive in which the sound of dialogues, the smell of
incense in a church, or the hands of a person cooking carry
an unexpected importance. Through his own family, the faces
of the elderly, the celebrations and rituals they engage in year
every year, Seoanes Verengo manages to reconstruct (maybe
invent is a better term) a world in which one can take shelter
from the relentless passage of time. FG

Vctor Hugo Seoane


Naci en Vigo, Espaa, en 1982. Es licenciado en Comunicacin Audiovisual y Humanidades. Realiz los cortometrajes Na distancia (2008), El
vaivn (2019), O tempo dos nenos (2010) y Do voltar (2014).
He was born in Vigo, Spain, in 1982. He majored in Audiovisual Communication and Humanities. He directed the short films Na distancia (2008),
El vaivn (2019), O tempo dos nenos (2010) and Do voltar (2014).

Espaa - Spain, 2015 / 60 / DCP / Color & B&N


Gallego / Espaol - Galician / Spanish
D, G, F, E, S, P: Vctor Hugo Seoane PE: Isabel Seoane,
Jaione Camborda, Ivn Marcos CP: Grupo de Creacin Vaivn,
Esnatu Cinema I: Avelino Seoane, Josefa Eir
Contacto / Contact
Vctor Hugo Seoane
T +34 616 580 803
E vhseoane@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

39

PREMIERE LATINOAMERICANA / LATAM PREMIERE

international official competition

Creative Control
Control creativo
Un inventor crea un par de anteojos de realidad aumentada, que
utiliza para engendrar un avatar de la novia de su mejor amigo.
Naturalmente, su fantasa tecnolgica se vuelve contra l.

An inventor creates a pair of augmented reality glasses, which


he uses to build an avatar of his best friends girlfriend. Naturally, her technological fantasy turns against him.

Creative Control es una comedia cida, de rasgos tenazmente


marcianos, con hipsters como protagonistas filmados en blanco
y negro y con una inesperada carga melanclica que parece
escandirse con todo el amor del mundo sobre sus espaldas.
La pelcula se da el lujo de no tener prcticamente seres agradables en sus filas (menos entre los hombres); sin embargo, al
tiempo que se convierten en monstruos ms o menos atemorizantes delante del espectador, todos parecen perdidos, destinados sin remedio a la ruina o a la alienacin desde el primer
minuto. En la conciencia acerca de la catstrofe que acecha a
los personajes, en la gracia trgica de su derrumbe, se juega
una porcin importante de la piedad matizada en medio de la
irona malvola que parece asomar en cada escena de esta pelcula distinguida y feroz. David Obarrio

Creative Control is an acid comedy with rough martian features,


hipsters as protagonists shot in black and white, and an unexpected melancholic charge that seems to be spread on it with
all the love in the world. The film even takes the liberty to feature no likeable characters at all (especially among the men).
However, as they turn into somewhat scary monsters before the
viewers eyes, they also seem lost, hopelessly destined for ruin
or alienation from the very first minute. The awareness of the
catastrophe luring on the characters, and the tragic grace of its
collapse, puts into play an important portion of the nuanced pity
amidst an evil irony, which seems to breathe in every scene of
this distinguished and ferocious film. DO

Benjamin Dickinson
Debut como director con el largometraje First Winter (2012), y luego
dirigi el corto Super Sleuths (2014).
He made his directorial debut with the feature First Winter (2012), and
then directed the short Super Sleuths (2014).

Estados Unidos - US, 2016 / 97 / DCP / B&N / Ingls - English


D: Benjamin Dickinson G: Benjamin Dickinson, Micah Bloomberg
F: Adam Newport-Berra E: Megan Brooks, Andrew Hasse
DA: John Furgason S: Paul Hsu M: Draen Bonjak P: Craig Shilowich,
Melody C. Roscher, Mark De Pace, Zachary Mortensen
PE: Cameron Brodie, Greg Steward, Emily Wiedemann CP: Ghot Robot
I: Benjamin Dickinson, Nora Zehetner, Dan Gill, Alexia Rasmussen
Contacto / Contact
Coproduction Office
T +33 15 602 6000
E info@coproductionoffice.eu W coproductionoffice.eu

40

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia oficial internacional

Le Nouveau
The New Kid
El nuevo
Benot es un chico de catorce aos que abandona el campo
para instalarse en Pars. Debe empezar desde cero en una
nueva escuela, hacer nuevas amistades y, de la mano de una
compaera sueca, descubrir el primer amor y las borracheras
con cerveza sin alcohol.

Benot is a 14 year-old boy who leaves the countryside and


moves to Paris. He has to start from scratch in a new school,
make new friends, and together with an Swedish schoolmate find his first love and get drunk with non-alcoholic beer.

Pocos momentos de la existencia humana han despertado una


fascinacin tan particular entre cineastas y guionistas como la
adolescencia. De Jean Eustache a Judd Apatow, pasando por
Louis Malle, Maurice Pialat o John Hughes, el cine ha intentado
descifrar hasta el ltimo signo de la pubertad como si fuese
un mapa jeroglfico de nuestro propio devenir. Rudi Rosenberg
se suma a esta ilustre nmina, aunque sabe que el objetivo
de Le Nouveau no pasa por reinventar la historia del cine. Le
basta con haber dado forma a un film que no es ms que una
luminosa fiesta de quince en la que, sin complejos, se celebran
cosas tan festejables como los cosquilleos del primer amor o
la incipiente amistad entre varones. Un film que muestra hacia
sus personajes un cario y una lealtad que, en el fondo, lo son
tambin hacia el espectador. Fran Gayo

Few moments in human existence have fascinated filmmakers


and scriptwriters as adolescence. From Jean Eustache to Judd
Apatow, including Louis Malle, Maurice Pialat, or John Hughes,
cinema has tried to decrypt every symbol of puberty, as if it was
a hieroglyphic map of our own evolution. Rudi Rosenberg joins
this illustrious list, although he knows the goal of The New Kid
is not to reinvent film history. He does enough by shaping a film
that stands as a luminous, simple sweet sixteenth party that
celebrates positive things such as the tinglings of a first love or
the incipient friendship between boys. This is a film that shows
love and loyalty towards its characters, and deep down, also to
the audience. FG

Rudi Rosenberg
Naci en Francia en 1979. Trabaj como actor en numerosos largometrajes y dirigi los cortos 3 ans (2008) y Aglae (2010).
He was born in France in 1979. He worked as an actor in several films
and directed the short films 3 ans (2008) and Aglae (2010).

Francia - France, 2015 / 81 / DCP / Color


Francs - French
D, G: Rudi Rosenberg F: Nicolas Loir E: Julie Lena
DA: Sebastien Meunier S: Arnaud Lavaleix M: Jonathan Morali
P: Mathias Rubin PE: Eric Zaouali CP: Rcifilms, Cinefrance,
D8 Films, Mars Films I: Raphael Ghrenassia, Johanna Lindstedt,
Graldine Martineau, Guillaume Cloud Rpussel
Contacto / Contact
Indie Sales Company. Martin Gondre
T +33 144 830 227 E festival@indiesales.eu
W indiesales.eu/the-new-kid

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

41

PREMIERE AMERICANA / AMERICAN PREMIERE

international official competition

A Magical Substance Flows into Me


Una sustancia mgica fluye hacia m
Con una cruza de ficcin y documental, Manna explora las
diferentes tradiciones musicales de las comunidades que
viven en Jerusaln y sus alrededores, a partir de la figura
del especialista judo alemn Robert Lachman y su trabajo
en Palestina.

Crossing documentary and fiction, Manna explores the different musical traditions of the communities that live in and
around Jerusalem with Jewish-German specialist Robert
Lachman and his work in Palestine as a kick-off point.

En los aos treinta, el musiclogo Robert Lachmann afirm a


travs de su programa de radio que las fronteras entre la msica rabe y juda son artificiales. Ocho dcadas despus, Jumana Manna recupera algunas de las grabaciones de campo que
Lachmann usaba en su programa y visita con ellas a intrpretes
de diferentes tribus y creencias: kurdos, marroques, samaritanos o beduinos que cruzan las reinterpretaciones de esas piezas con sus propios testimonios. El resultado una emocionante
y vital reflexin sobre la idea del hogar, de su prdida, pero
tambin de su utilidad como refugio contra la realidad tiene
adems algo de regreso a un estado ednico, a un momento
histrico que pervive ms all de las palabras de los estadistas,
en los melismas de una cancin transmitida de generacin en
generacin. Fran Gayo

Back in the 30s, musicologist Robert Lachmann vindicated


through his radio show the fact that the borders between Arab
and Jewish music are artificial. Eight decades later, Jumana
Manna retrieves some of the field recordings Lachmann used
in his show, presenting them to musicians from different tribes
and religions: Kurdish, Moroccans, Samaritans, and Bedouins,
who reinterpret the pieces and also add their own testimonies.
The result is a moving and vital reflection on the notion of home,
its loss, and also its use as a refuge against reality. Theres also
a kind of return to a paradise-like state, a historical moment that
transcends the words of statesmen, in the melisma of a song
that was passed on through generations. FG

Jumana Manna
Nacida en Estados Unidos en 1987, es de origen palestino y vive en
Berln. Se gradu de CalArts, la Academia Nacional de Artes de Oslo y
la Academia Bezalel de Arte y Diseo de Jerusaln. Sus trabajos fueron
exhibidos en el Tate Modern de Londres, el Sculpture Center de Nueva
York y el Kunstlerhaus Bethanien de Berln.
Born in the US in 1987, she is of Palestine origin and is established in
Berln. A graduate from CalArts, the Oslo National Academy of the Arts
and Jerusalems Bezalel Academy of Arts and Design, her works have
been shown at Londons Tate Modern, New Works Sculpture Center and
Berlins Kunstlerhau Bethanien.

42

Territorios Palestinos / Alemania / Reino Unido / Suecia / Australia


Palestine Territories / Germany / UK / Swedeen / Australia
2016 / 68 / DCP / Color
rabe / Hebreo / Ingls - Arabic / Hebrew / English
D, G, DA, P: Jumana Manna F: Daniel Kedem E: Katrin Ebersohn,
Jumana Manna S: Jochen Jezussek PE: Polly Staple I: Adel Manna,
Aziza Manna, Aharon Amram, Liron Amram, Wasif Tawfiq Cahen
Contacto / Contact
Jumana Manna
T +49 15 2596 29550
E jumanamanna@gmail.com W jumanamanna.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia oficial internacional

Rosa Chumbe
La rutina de Rosa Chumbe se ver alterada cuando su hija de
18 aos le robe sus pocos ahorros y se vaya de la casa abandonando a su propio hijo. Este incidente har que Rosa siga los
pasos del Seor de Los Milagros, mientras se pierde entre el
humo de incienso y el fervor de la procesin.

The routine of Rosa Chumbe will be altered when her 18-yearold daughter steels the few savings she had and leaves the
house, abandoning her son. This incident will lead Rosa to follow the steps of the Lord of Miracles, while getting lost amidst
incense smoke and the fervor of procession.

Lejos del trajinado formato de pocos temas, pocos tonos, pocas


peripecias, poco margen de error, Jonatan Relayze Chiang hace
una apuesta temeraria para el cine independiente latinoamericano. Rosa Chumbe no es atractiva, no trabaja bien, no se
lleva bien con casi nadie: sobrevive a los tumbos, no cuida de
los dems. Cargada de misticismo, o con un resto atvico de
devocin, carga con la maldad de bajo vuelo del resentimiento y
con la piel endurecida ante una realidad que parece disolverse
entre alcohol, frustraciones y comida de colores. La ciudad de
Lima, filmada con una mirada cruda, pero apasionada y con
neones reminiscentes de Wong Kar-wai, es el marco de esta
combinacin de comedia negra, tragedias urbanas y posibilidades de redencin. Sus asperezas son parte de su andar, de su
riesgo, de su particularidad, de su manera osada de ser cine.
Javier Porta Fouz

Far from the over-used format of few themes, few tones, few
incidents, and a small margin of error, Jonatan Relayze Chiang makes a brave bet for Latin American independent cinema.
Rosa Chumbe is not an attractive woman, she doesnt work well,
and gets along with almost no one: she bumps along through
life, without taking care of others. Charged with mysticism, or
an atavistic remain of devotion, she carries the low fi evilness of
resentment and a skin hardened by a reality that seems to dissolve in alcohol, frustration, and colorful food. This combination
of black comedy, urban tragedy, and redemption story is framed
by the city of Lima, captured with a raw yet passionate eye with
neon lights reminiscent of Wong Kar-wai. The films rough edges
are part of its nature, its risk-taking attitude, its uniqueness, and
its bold way of making cinema. JPF

Jonatan Relayze Chiang


Naci en Lima en 1981. Ha realizado una docena de cortometrajes en
16mm y en video. Trabaj en distintas reas en varios largometrajes
peruanos y como editor de televisin para Discovery Channel.
He was born in Lima in 1981. He directed a dozen short films in 16mm
and video. He worked in different departments for several Peruvian films,
and as an editor for Discovery Channel.

Per - Peru, 2015 / 72 / DCP / Color


Espaol - Spanish
D, E: Jonatan Relayze Chiang G: Jonatan Relayze Chiang,
Christopher Vasquez F: Miguel Valencia DA: Aaron Rojas
S: Rosa Mara Oliart P: Eliana Illescas PE: Eliana Illescas
CP: Yin Zhang Films I: Liliana Trujillo, Cindy Daz, Alejandro Romero
Contacto / Contact
Yin Zhang Films. Jonatan Relayze Chiang
T +34 912 920 081
E produccion@quechuafilms.com
W rosachumbe.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

43

international official competition

John From
Rita tiene 15 aos y pasa el verano entre clidas tardes de
amor adolescente y noches de fiesta junto a su amiga Sara.
Desde Portugal hasta el Pacfico Sur, los placeres de esta rutina darn un giro cuando la joven visite la exposicin de un
nuevo vecino en el centro de la comunidad local.

Rita is 15 and spends the summer between warm afternoons


of teenage love and party nights with her friend Sara. From
Portugal to the South Pacific, the pleasures of this routine will
take a turn when the young girl visits the art show of a new
neighbor in the local community.

Nada de lo que nos ofrece esta pelcula va por los carriles que
imaginamos ante el esqueleto argumental. Joo Nicolau despliega varias lneas que se van fortaleciendo en una singular sinergia: el seguimiento de Rita (encuadres y ngulos que realzan
la belleza fulgurante de Jlia Palha), la acumulacin de pequeos gestos que descentran las acciones de los personajes (un
dilogo, una actitud de absurda elegancia, como ocurra en el
cine de Joo Csar Monteiro), y la introduccin progresivamente
mayor de la fantasa en el mundo cotidiano. La excentricidad
de John From nos confirma que se pueden contar historias
conocidas y rarificarlas para hacerlas no accesibles sino encantadoras. Que sea un universo sin maldad y sin cinismo le
permite tambin, en una musicalizacin brillante, darle el mejor
uso posible a la lambada. Javier Porta Fouz

What this film offers has nothing to do with what we would


imagine from the plot outline. Joo Nicolau puts different storylines on display, which grow stronger in a unique synergy: the
follow-up Rita (framings and angles that highlight Jlia Palhas
stunning beauty), the accumulation of small gestures that put
the characters actions off-center (a line of dialogue, an attitude
of absurd elegance, as in Joo Csar Monteiros films), and the
increasing insertion of fantasy in the everyday world. The eccentricity of John From confirms us that one can tell well-known
stories and rarefy them not to turn them into something inaccessible, but into something charming. The fact that its universe
lacks meanness and cynicism also allows it to make great use
of the Lambada through some brilliant musicalization. JPM

Joo Nicolau
Naci en Lisboa, Portugal, en 1975. Estudi antropologa, y adems es
director, actor, montajista y msico. Dirigi numerosos cortometrajes,
como Rapace (2006; Bafici 09), Song of Love and Health (2009), The
Gift of Tears (2012), Wild Haggis (2013) y un largometraje de ficcin, The
Sword and the Rose (2010; Bafici 11).
He was born in Lisbon, Portugal, in 1975. He studied anthropology and is
also a director, actor, editor and musician. He directed several short films,
such as Rapace (2006; Bafici 09), Song of Love and Health (2009), The
Gift of Tears (2012), Wild Haggis (2013) and the feature-length fiction
The Sword and the Rose (2010; Bafici 11).

44

Portugal / Francia - Portugal / France, 2015 / 98 / DCP / Color /


Portugus - Portuguese
D: Joo Nicolau G: Joo Nicolau, Mariana Ricardo F: Mrio
Castanheira E: Alessandro Comodin, Joo Nicolau DA: Bruno Duarte
S: Miguel Martins M: Joo Lobo P: Lus Urbano, Sandro Aguilar
PE: Lus Urbano CP: O Som e a Fria, Shellac Sud I: Jlia Palha,
Clara Riedenstein, Filipe Vargas, Leonor Silveira, Adriano Luz
Contacto / Contact
O Som e a Fria. Lus Urbano
T +351 213 582 518
E geral@osomeafuria.com W osomeafuria.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

fuera de competencia - out of competition

competencia oficial internacional

Illegitimate
Ilegitim
Ilegtimo
Un comentario disparado en medio de un almuerzo desemboca en una severa discusin familiar que parece socavar la
confianza de los participantes de modo irreversible.

A comment in the middle of lunch leads to a severe family


argument that seems to sabotage its members trust irreversibly.

Al igual que en Hooked, su pera prima que compiti en Bafici


en 2009, Sitaru plantea un dilema moral. En realidad muchos,
que se potencian, se solapan, se licuan, se recomponen y se
descomponen. Pocos cineastas contemporneos pueden hacer
pelculas como Illegitimate, con esta crudeza y valenta, con la
propuesta de diversin aterradora de acompaar a estos personajes en sus montaas rusas ntimas. Sitaru nos mete en
la mesa familiar y nos lleva a una guerra de inaudita violencia
que cambia de direccin, que parece hacer ganar a cada uno
alternativamente, pero es una mera ilusin. Las discusiones y
reacciones furiosas y pasionales entre padres, hijos y hermanos
de esta familia increble pero filmada con convincente realismo son la base de una comedia negra que no tiene miedo de
hacer volar todo por los aires. Javier Porta Fouz

Just like in Hooked, his first feature that competed in Bafici


2009, Sitaru lays out a moral dilemma. Actually, lots of them,
which nurture, overlap, liquefy, recompose and decompose
each other. Few contemporary filmmakers can make films like
Illegitimate, with such rawness and courage, and the scarily fun
idea of joining these characters in their intimate roller coasters.
Sitaru takes us into family dinners and leads us to an incredibly violent war that changes its direction, with each side alternatively finding victory, but thats just an illusion. The furious,
passionate discussions and reactions of parents, children, and
siblings in this incredible yet realistically filmed family are the
basis for a black comedy thats not afraid of blowing everything
up in the air. JPF

Rumania / Polonia / Francia - Romania / Poland / France, 2016


88 / DCP / Color / Rumano - Romanian

Adrian Sitaru
Estudi direccin de cine en Bucarest, y debut como realizador en 2008
con el largometraje Hooked, al que le siguieron Best Intentions (2011) y
Domestic (2012).
He studied filmmaking in Bucarest, and made his debut as a filmmaker
in 2008 with the feature Hooked, followed by Best Intentions (2011) and
Domestic (2012).

D: Adrian Sitaru G: Alina Grigore, Adrian Sitaru F: Adrian Silisteanu,


Alexandru Timosca E: Mircea Olteanu, Theo Lichtenberger
DA: Elena Manea S: Ioan Filip, Dan-Stefan Rucareanu
P: Anamaria Antoci PE: Yohann Cornu, Stanislaw Dziedzic,
Klaudia Smieja CP: Domestic Film, Film Produkcja, Damned Films
I: Adrian Titieni, Bogdan Albulescu, Cristina Olteanu, Alina Grigore,
Robi Urs
Contacto / Contact
Versatile. Alexandre Moreau
T +33 176 216 168
E sales@versatile-films.com W versatile-films.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

45

PREMIERE AMERICANA / AMERICAN PREMIERE

international official competition

The Revolution Wont Be Televised


La revolucin no ser televisada
Cuando el presidente de Senegal se postula para ser reelegido
en 2011, luego de dos mandatos, los raperos Thiat y Kilifeu
inician una revolucin por la democracia. Rama Thiaw registra
los conflictos entre la msica y la poltica, la calle y el Estado.

When the president of Senegal runs for reelection in 2011 after


two mandates, rappers Thiat and Kilifeu start a revolution for
democracy. Rama Thiaw captures the conflicts between music
and politics, the street and the State.

El relato de una campaa electoral, y de otra ms. Protagonistas: msicos y polticos. Rap, hip hop y consignas contra la
reeleccin indefinida. Senegal, un pas con mayora de poblacin joven, y un presidente que quiere envejecer (an ms) en
el cargo. The Revolution Wont Be Televised est en movimiento
constante: es un documental hecho a lo largo de los aos, con
una dedicacin estremecedora, lcida, cercana. Manifestaciones, detenciones policiales, protestas, conciertos. Despertarse
para ir a votar luego de haber dormido al aire libre. Esta es una
pelcula que transcurre mayormente en la calle, pero cuando se
detiene y se refugia en la intimidad sigue con una energa extraordinaria. La directora Rama Thiaw tiene el extrao mrito de
extraer de una realidad llena de conflictos una pelcula cargada
de futuro y, a su modo, tambin optimista. Javier Porta Fouz

The account of an election campaign, and another one. The


protagonists: musicians and politicians. Rap, hip hop and slogans against an indefinite reelection. Senegal, a country with
a majority of young population, and a president who wants get
old(er) in his position. The Revolution Wont Be Televised is in
constant motion: its a documentary made throughout the years,
with a dedication that is heartrending, lucid, close. Demonstrations, arrests, protests, concerts. Waking up and going to vote
after having slept outdoors. This is a film that takes place mostly
on the street, but when it stops and finds shelter in intimacy, it
continues to have extraordinary energy. Director Rama Thiaw
has the strange merit of extracting from a conflict-infused reality a film full of future and, in its own way, also optimistic. JPF

Rama Thiaw
Naci en Nouakchott, Mauritania, en 1978. Estudi cine y economa en
Pars, y dirigi el documental Boul Fall: The Wrestling Way (2009).
She was born in Nouakchott, Mauritania, in 1978. She studied film and
economy in Paris and directed the documentary Boul Fall: The Wrestling
Way (2009).

46

Senegal / Francia - Senegal / France, 2016 / 110 / DCP / Color /


Wolof / Francs - Wolof / French
D, DA, G, P: Rama Thiaw F: Amath Niane E: Axel Salvatori-Sinz,
Rama Thiaw S: Xavier Thibauld M: Keur Gui
CP: Boul Falle Images, Vrai-Vrai Films
Contacto / Contact
Boul Falle Images. Rama Thiaw
T +22 1 77 394 55 02
E boulfalleimages@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial internacional

Hedi
Inhebbek Hedi
Hedi se toma la vida como viene. Permite que su autoritaria
madre organice su casamiento y que su jefe lo enve de viaje
en la misma semana en que festeja su boda. All conoce a la
organizadora de actividades de un hotel y, por primera vez, se
ve obligado a tomar una decisin.

Hedi takes life as it comes. He allows his authoritarian mother


to organize his wedding, and also agrees to be sent on a trip
by his boss on the week of the wedding. There, she meets the
activity organizer of a hotel and, for the first time, is forced to
make a decision.

Con un casting soberbio y la inmensa performance de Majd


Mastoura en el rol protagnico, el planteo del film si bien puede
sonar clsico resulta novedoso en el cine tunecino: despus de
aos de noviazgo y con el casamiento arreglado por parte de las
familias de los novios, una semana antes de la boda, Hedi se ve
en la disyuntiva de seguir la tradicin (la ley) o su propio camino,
el del deseo. De un lado est la madre de Hedi, quien resulta ser
la gran orquestadora de la vida familiar y siempre tiene como
ejemplo al hermano mayor, quien ha hecho todo bien. Del otro,
Rim, la mujer de la que Hedi, en uno de sus viajes de trabajo, se
enamora, la que l elige y con la que vive una verdadera relacin. Todas y cada una de las decisiones de direccin son aqu
aciertos que dan como resultado una pera prima extraordinaria,
sorprendente y conmovedora. Violeta Bava

Featuring a superb cast and an immense performance by Majd


Mastoura in the lead role, the films idea as classic as it may
sound is new in Tunisian cinema: after years of being together
with his girlfriend and with their marriage arranged by both families, Hedi is faced with the choice of following tradition (and law)
or rather follow his own path the one of desire. On one side,
theres Hedis mom, who turns out to be the great conductor of
family life and is always citing his older brother as an example,
since he did everything good. On the other, there is Rim, the
woman Hedi falls in love with in one of his work trips shes the
one he has chosen, and with whom he has a real relationship.
Every single decision by the filmmaker here is right, and results
in an extraordinary, surprising, and moving debut film. VB

Mohamed Ben Attia

Tnez / Blgica / Francia / Qatar / Emiratos rabes Unidos Tunisia / Belgium / France / Qatar / UAE, 2016 / 89 / DCP /
Color / rabe - Arabic

Naci en Tnez en 1976, y estudi comunicacin audiovisual en Francia.


Dirigi cinco cortometrajes, entre ellos Selma (2013).
He was born in Tunisia in 1976 and studied audiovisual communication in
France. He directed five shorts, including Selma (2013).

D, G: Mohamed Ben Attia F: Frederic Noirhomme E: Azza Chaabouni,


Ghalya Lacroix, Hafedh Laaridhi DA: Mohamed Denguezli
S: Jean-Sebastien Garbe M: Omar Aloulou P: Dora Bouchoucha
Fourati PE: Lina Chaabane Menzil, Delphine Tomson
CP: Nomadis Images I: Majd Mastoura, Rym Ben Messaoud,
Sabah Bouzouita, Omnia Ben Ghali, Hakim Boumessaoudi
Contacto / Contact
Luxbox. Anne Sophie Trintignac T +33 742 2612
E festivals@luxboxfilms.com W www.luxboxfilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

47

competencia oficial argentina


argentine official competition

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Crespo (La continuidad de la memoria)


Crespo (The Persistence of Memory)
Tras la muerte de su padre, Eduardo Crespo decide viajar para
filmar la pelcula que tena planeado hacer con l sobre la
ciudad de Crespo, la avicultura y la relacin que los una. La
cmara recorre los mismos espacios, a travs de la memoria
colectiva y personal.

After the death of his father, Eduardo Crespo decides to travel in order to make the film he had planned to do with him
about the city of Crespo, poultry farming, and the relationship
between them. The camera goes through the same places,
through collective and personal memory.

Crespo es una ciudad situada en la provincia de Entre Ros, pero


tambin es el apellido del responsable de esta pelcula, que
hace de las repeticiones inopinadas, la intervencin del azar y
la recurrencia de la memoria su materia prima y razn de ser. El
director dedica la pelcula al recuerdo de su padre recientemente fallecido. Las imgenes indagan en las sombras flotantes de
ese hombre sbitamente aorado, como si el hijo auscultara las
oscilaciones del dolor dentro de s mismo, para comprender al
padre pero tambin lo que lo rodeaba: sus libros, los ms variados objetos que juntaba con extraa veneracin, sus amistades,
su viuda, el propio pueblo cuyo nombre replicaba. Crespo, la
pelcula, es una pieza conmovedora de amor filial y una aproximacin al poder de evocacin de las imgenes. David Obarrio

Crespo is a city located in the Entre Ros province, but is also


the last name of the person who made this film, which uses
unexpected repetitions, chance, and the recurrence of memory
as its prime matter and reason to be. The director dedicates
the film to the memory of his father, who recently passed away.
The images dive into the floating shadows of that man who is
suddenly missed, as if his son was auscultating the oscillations
of his own pain in order to understand both his father and the
things that lived around him: his books, the diverse objects he
collected with a strange veneration, his friends, his widow, and
the town with the same name as him. Crespo, the film, is a moving piece of filial love and a poetic investigation on the evocating
power of images. DO

Eduardo Crespo

Argentina, 2016 / 65 / DCP / Color & B&N / Espaol - Spanish

Naci en Entre Ros, Argentina, en 1983. Dirigi varios cortos, entre ellos,
Amaina (Bafici 10) y el largometraje Tan cerca como pueda (2012). Ha
trabajado como productor, montajista, director de fotografa y guionista.
He was born in Entre Ros, Argentina, in 1983. He directed several short
films, including Amaina (Bafici 10) and the feature-length film Tan cerca
como pueda (2012). He worked as a producer, editor, cinematographer,
and scriptwriter.

50

D, F, P: Eduardo Crespo G: Eduardo Crespo, Santiago Loza,


Ariel Gurevich E: Lorena Moriconi S: Guido Deniro
PE: Constanza Sanz Palacios I: Mali Seri, Clarita Laferrara,
Mirta Holzhus, Jorge Gieco, Osvaldo Chiappesoni
Contacto / Contact
Eduardo Crespo
T +54 9 11 5410 1649
E educrespo@gmail.com
W facebook.com/crespofilm

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial argentina

Crimen de Las Salinas


The Crime of Las Salinas
Un hombre de 77 aos se casa con una mujer de 33. Tres
aos despus, ella, con la ayuda de su hermano, lo asesina.
Cinco aos ms tarde, el Tribunal Superior de Justicia de
Crdoba los condena a cadena perpetua. El film elabora diferentes puntos de vista para obtener otra mirada del caso
que conmovi a un pueblo.

A 77-year-old man marries a 33-year-old woman. Three years


later, she murders him with the help of her brother. Five years
later, Crdobas Court of Law sentences them to a life in prison.
The film builds up many points of view in order to achieve an
new look on the case that upset a town.

Segn el censo de 2010, San Jos de las Salinas, en el norte


cordobs, tena 662 habitantes. En esa cuenta ya no estaba
Ramn Cceres, que cinco aos antes haba muerto a manos
de su esposa y su cuado: el nico crimen de toda la historia
del pueblo. Se haban casado en secreto cuando Cceres tena
77 y ella 33. El caso ocup algn espacio en la prensa (ms que
nada por el inslito papel de un burro en su esclarecimiento)
y luego fue olvidado. Afortunadamente no por Distfano, que
hizo uno de los documentales ms rigurosos, lcidos y atentos tanto a los detalles del paisaje como a lo que dicen sus
entrevistados del cine argentino reciente. Crimen de Las Salinas trasciende la crnica policial para armar, aunque en el film
siempre sea de da, el retrato inquietante de no pocas oscuridades. Agustn Masaedo

According to the 2010 census, San Jos de las Salinas, on the


north of the Crdoba province, had 662 inhabitants. That sum
no longer included Ramn Cceres, who had died at the hands
of his wife and brother-in-law five years before: the only crime
in that towns history. They had gotten married in secret when
Cceres was 77 and she was 33. The case was covered by
the press (mainly because of the unbelievable part played by a
donkey in its solving) and was later forgotten. Fortunately, Distfano didnt, and made one of the most rigorous, lucid, attentive
to details of the landscape and also to what his interviewees
say Argentine documentaries in recent history. Crimen de Las
Salinas transcends the news story and builds up, even though
in the film its always daytime, the disturbing portrait of quite a
few obscurities. AM

Lucas Distfano

Argentina, 2016 / 63 / DCP / Color / Espaol - Spanish

Naci en Buenos Aires en 1965. Estudi en el Instituto Superior de Arte


Fotogrfico de Avellaneda y asisti a los talleres de guion dictados por
Jos Martnez Surez. Ha obtenido diversos premios del FNA y del Fondo
de Cultura de Buenos Aires. Dirigi el mediometraje Ballena blanca y los
cortos Un poco de rigor y Una muerte intil.
He was born in Buenos Aires in 1965. He studied at Avellanedas Instituto Superior de Arte Fotogrfico and attended Jos Martnez Suarezs
screenwriting workshop. He won many awards from the FNA and Buenos
Aires Culture Fund. He directed the mid-length Ballena blanca and the
shorts Un poco de rigor and Una muerte intil.

D, G, DA, P: Lucas Distfano F: Alejandro Tarraf E, M: Diana Cardini


S: Sebastin Durn PE: Lucas Distfano, Alejandro Tarraf,
Alberto Balazs CP: Vientocine, El Otro Lado Films I: Bety Rodrguez,
Antonio Bustos, Norma Barreto, Marcelo Rinaldi, Luis Gonzlez
Contacto / Contact
Vientocine. Leonardo Cauteruccio
T +54 11 4797 9132
E leo@vientocine.com
W vientocine.com ~ facebook.com/crimendelassalinas

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

51

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

El invierno llega despus del otoo


Winter Comes After Autumn
Pablo pasa el otoo entre libros usados, celulares ilegales,
fiestas, cocana y llamadas equivocadas. Su ex novia, Mariana, disfruta del invierno mientras divide sus das entre los
exmenes universitarios, dealers de drogas duras, azarosos
reencuentros con parejas amigas y un nuevo novio.

Pablo spends autumn among second-hand books, illegal cell


phones, parties, cocaine, and wrong calls. His ex-girlfriend,
Mariana, enjoys the winter while splitting her days between
college exams, dealers of hard drugs, random meetings with
couples she is friends with, and a new boyfriend.

Libreras, desgrabaciones de charlas, ediciones y presentaciones de libros, comentarios sobre artculos periodsticos, venta
de celulares, fiestas diversas. El ambiente porteo de jvenes
con ocupaciones que orbitan alrededor del cine, la literatura y
el periodismo en una pelcula texturada de Nouvelle Vague, que
desde su mismo ttulo anuncia socarronamente su mirada, una
que mantiene la distancia y a la vez exhibe un conocimiento
cabal del ambiente y sus tics sin dar lugar a condescendencia
ni burla alguna. Los personajes dudan, se equivocan, arremeten
a destiempo, disfrazan sus temores y sus pasiones de conversaciones y conversaciones sobre conversaciones. Malena
Solarz y Nicols Zukerfeld encontraron un singular tono de calidez nada invasiva para hacer este retrato mltiple, tan alejado
de las estridencias como indeclinablemente narrativo. Javier
Porta Fouz

Bookstores, conference transcripts, book editions and presentations, commentaries on newspaper articles, cell phone sales,
parties. A film with a Nouvelle Vague texture, featuring the Buenos Aires scene of young people with jobs in film, literature, and
journalism. Its title is a sarcastic announcement of its perspective, which stays at a distance while shows a thorough knowledge of that environment and its clichs, yet never enabling
any kind of condescendence or mockery. Characters doubt,
they make mistakes, they disguise their fears and passions with
conversations, and conversations about conversations. Malena
Solarz and Nicols Zukerfeld have found a singular tone warm
and not invasive to make this multiple portrait, as distant to
stridency as it is relentlessly narrative. JPF

Nicols Zukerfeld
Naci en Buenos Aires en 1982. Dirigi varios cortometrajes, entre ellos,
Escenas sobre la muerte de los nios (Bafici 09).
He was born in Buenos Aires in 1982. He directed several short films,
including Escenas sobre la muerte de los nios (Bafici 09).

Malena Solarz
Naci en Buenos Aires en 1982 y dirigi una de las secciones de A
propsito de Buenos Aires (2006).
She was born in Buenos Aires in 1982, and directed one of the portions
of A propsito de Buenos Aires (2006).

52

Argentina, 2015 / 90 / DCP / Color / Espaol - Spanish


D, G: Nicols Zukerfeld, Malena Solarz F: Fernando Lockett
E: Manuel Ferrari DA: Vernica Balduzzi S: Nicols Payueta
P: Rogelio Navarro PE: Rogelio Navarro CP: Fidelia Cine, Punto y Lnea
I: Marina Califano, Guillermo Masse
Contacto / Contact
Fidelia Cine. Rogelio Navarro
T +54 11 3110 5446
E roge@crudofilms.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial argentina

El teorema de Santiago
Santiagos Theorem
En 1969 el cineasta argentino Hugo Santiago dirigi Invasin,
su pera prima, con guion de Jorge Luis Borges y Adolfo Bioy
Casares, y luego emigr definitivamente a Francia. Esta pelcula documenta su regreso a Buenos Aires en 2013 para filmar
su ltima pelcula, El cielo del centauro.

In 1969 Argentine filmmaker Hugo Santiago directed Invasin,


his opera prima, written by Jorge Luis Borges and Adolfo Bioy
Casares, and later settled in France. This film documents his
return to Buenos Aires in 2013 to shoot his latest film, Le ciel
du centaure.

Hugo Santiago es un director real, que incluso present su pelcula El cielo del centauro en la apertura del Bafici pasado. Pero,
a la vez, es un director mtico; el que tuvo de guionistas a Borges, Bioy y Saer, el que convirti a Buenos Aires en Aquilea pero
nunca dej de pensar, desde afuera, en esa ciudad. El teorema
de Santiago es un ensayo ambicioso sobre la preparacin, el
rodaje y finalmente la presentacin de El cielo del centauro. Hay
referencias mltiples, admiraciones, mapas, pensamiento constante sobre cine un texto de David Oubia es especialmente
brillante y tambin constante ubicacin de Santiago como
padre cinematogrfico, carismtico y sabio. Tributo y crnica,
El teorema de Santiago es una pelcula que con su elaborada
estructura simula resolver misterios mientras entrega otra sentida declaracin de amor a Buenos Aires y piensa cmo contar
esta y otras historias porteas. Javier Porta Fouz

Hugo Santiago is a real director, who even premiered his film


Le ciel du centaur at the Bafici opening last year. But hes
also a mythical filmmaker, who had Borges, Bioy, and Saer as
scriptwriters, and turned Buenos Aires into Aquilea but never
stopped thinking about that city from a distance. El teorema de
Santiago is an ambitious essay on the preparation, shooting,
and premiere of Le Ciel du centaur. There are multiple references, admirations, maps, constant thinking about cinema
a particularly brilliant text by David Oubia and a constant
positioning of Santiago as a cinematographic father with charisma and wisdom. A tribute and a chronicle, El teorema de
Santiago is a film with an elaborated structure that pretends to
solve mysteries, delivering yet another moving declaration of
love for Buenos Aires and thinking about a way to tell this and
other city stories. JPF

Ignacio Masllorens
Naci en Buenos Aires en 1973, y estudi diseo de imagen y sonido de
la UBA. Dirigi los films Hbitat (2013) y Martn Blaszko III (2011).
He was born in Buenos Aires in 1973, and studied image and sound design
at the UBA. He directed Hbitat (2013) and Martn Blaszko III (2011).

Estanislao Buisel
Naci en Buenos Aires en 1979. Estudi psicologa y cine. Dirigi el
largometraje Barroco (2013).
He was born in Buenos Aires in 1979. He studied psycology and filmmaking. He directed the film Barroco (2013).

Argentina, 2015 / 96 / DCP / Color / Espaol / Francs Spanish / French


D, G, E: Ignacio Masllorens, Estanislao Buisel F: I. Masllorens,
E. Buisel, A. Mendilaharzu, J. Herrera DA: J. Cuerell S: M. Canosa
M: C. Debussy, P. M. Dubois, G. P. Telemann P: G. Lozano, E. Busiel,
I. Masllorens PE: A. Llamb Campbell, F. Brom, E. Buisel, I. Masllorens
CP: El Rayo Verde, La Unin de los Ros I: Hugo Santiago, Mariano
Llins, Laura Citarella, Gustavo Biazzi, David Oubia
Contacto / Contact
El Rayo Verde. Ignacio Masllorens T +54 11 5317 6353
E elrayoverde.cine@gmail.com W elrayoverde.jimdo.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

53

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Finding Sofia
Alex es un cineasta que vive en Brooklyn. Uno de sus cortos
animados se hizo viral y ahora intenta probar que puede hacer
algo ms que videos divertidos. En ese camino, viaja hacia Argentina a conocer a Sofia, una muchacha con la que comenz
una relacin virtual.

El ttulo bien podra haber sido Lost in Translation: estamos ante


personajes que se pierden en la traduccin. El enamorado infatuado estadounidense que no habla espaol y que viene a
Argentina a buscar a Sofia porque lo flech alguna coincidencia
en el intercambio simblico de Internet. El pintor recalcitrante
que no habla ingls y lo rechaza, y cree que resiste. Y los usos
y costumbres que en cualquier intento de pareja son, claro, prdidas en la traduccin y posible ganancia en la diferencia; la
base de tantas comedias romnticas en un ejemplar de alta
velocidad y recursos diversificados sobre un chico que viene a
conocer a una chica. A su modo una pica de conquista, Finding
Sofia es tambin una pelcula que se re de los modos de produccin y circulacin del arte o lo que sea que se mueve como
tal, online y offline. Javier Porta Fouz
Nico Casavecchia
Naci en Argentina. Algunos de sus cortos son Buildings & Vampires y
Salesman in the Mirror. En 2013 su cortometraje A Boy and His Atom,
hecho en colaboracin con cientficos de IBM y creado a partir del movimiento de molculas de monxido de carbono, fue reconocido por el libro
Guinness como el film ms pequeo del mundo.
Born in Argentina. Some of his shorts are Buildings & Vampires and
Salesman in the Mirror. In 2013, his short A boy and His Atom, made in
collaboration with IBM scientists and created by moving carbon monoxide
molecules, was recognized by the Guinness Book of World Records as
the smallest film in the world.

54

Alex is a filmmaker living in Brooklyn. One of his animated


shorts went viral and now hes trying to prove that he can do
more than funny videos. While doing so, he travels to Argentina
to meet Sofia, with whom he started a virtual relationship.

The title might as well have been Lost in Translation: here we


have characters who get lost in their languages. The American
infatuated lover who doesnt speak Spanish and travels to Argentina in search of Sofia, because he fell in love with some
coincidence in the symbolic exchange they had online. The
obstinate painter who doesnt speak English and rejects it,
believing hes resisting. And the common uses and habits in
every inspiring couple, which are, yes, losses in translation and
potential winnings thanks to those differences. The grounds for
so many romantic comedies are here in a high-speed sample
with diverse resources, about a young man who comes to meet
a girl. A pick-up epic in its own way, Finding Sofia is also a
film that laughs about the forms of production and circulation
of art, or whatever moves around online and offline acting
as such. JPF

Argentina / Estados Unidos - Argentina / US, 2016 / 105 / DM /


Color / Ingls / Espaol - English / Spanish
D, G: Nico Casavecchia F: Eloi Moli E: Lynn Hobson DA: Ana Cambre
S: Animal Music M: Animal Music P: Andrew Geller PE: Serge Patzak,
Sam Penfield, Arvind Palep CP: 1st Avenue Machine
I: Sam Huntington, Andrea Carballo, Sofa Brihet, Rafael Spregelburd
Contacto / Contact
1st Avenue Machine. Nico Casavecchia
T +1 917 648 2655 E hello@niconico.me
W 1stavemachine.com ~ findingsofia.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial argentina

Hierba
Cuatro personajes sobre la hierba evocan, a modo de calco,
a la clebre pintura de Manet. Homenajeando al cine silente, Ral Perrone realiza una indagacin sobre las posibilidades del deseo.

Four characters lying in the grass evoke Manets famous


painting. In this homage to silent film, Ral Perrone inquires
into the possibilities of desire.

La que quiz sea la apuesta ms radical de Perrone es tambin una de sus pelculas ms hermosas e inasibles. Un cuadro
de Manet es el fondo sobre el que se mueven los personajes
en la primera escena, como si las criaturas pintadas cobraran
vida y se independizaran en un gesto de rebelda y tambin de
perplejidad. Si la pelcula parece oscilar entre las nociones de libertad, deseo velado y amor gentil montadas en un dispensario
de imgenes y actitudes de las pinturas de fines del siglo XIX, el
trabajo sobre el sonido, los primeros planos y el corte abrupto
remiten a vanguardias olvidadas sobre las que Perrone vuelve
con una perseverancia de alquimista. La belleza de los colores,
la pantomima dolorosa de los actores y el destilado de asombro e ingenuidad que se desprenden de Hierba sugieren que la
maestra del director es inagotable. David Obarrio

What is perhaps Perrones most radical enterprise is also one of


his most beautiful and elusive films. A painting by Manet is the
background for the characters in the first scene, as though the
painted creatures came to life and became independent in an
act of rebellion and, also, perplexity. If the film seems to oscillate between notions of freedom, veiled desire and gentle love
mounted on a dispensary of images and attitudes form late-19th
century paintings, the way sound is used, the close-ups and the
abrupt cuts refer to forgotten vanguards Perrone goes back to
with the perseverance of an alchemist. The beauty of the colors,
the painful pantomime of the actors and the display of amazement and naivet in Hierba suggest that the directors mastery
is inexhaustible. DO

Ral Perrone

Argentina, 2015 / 65 / DCP / Color / Espaol - Spanish

Naci en Ituzaing, provincia de Buenos Aires en 1952. Gran parte de su


vasta filmografa se exhibi en el Bafici, como Tarde de verano (06), La
Navidad de Ofelia y Galvn y Canad (07; premio a Mejor Director en
la Competencia Argentina), 180 grados (09), Los actos cotidianos (10),
P3nd3jo5 (13) y Ragazzi (15).
He was born in Ituzaing, province of Buenos Aires, in 1952. Most of his
vast filmography was shown at Bafici, including Tarde de verano (06), La
Navidad de Ofelia y Galvn and Canad (07; Best Director Award from
the Argentine Competition), 180 grados (09), Los actos cotidianos (10),
P3nd3jo5 (13), and Ragazzi (15).

D, G, E, S: Ral Perrone F: Ral Perrone, Alejandro Gonzlez,


Ivn Moskovich, Martn Farina PE: Pablo Ratto CP: Les Envies Que Je
Te Desire, Trivial Media I: Dulce Huilen Azul, Guilermo Quinteros,
Evelyn Cazal, Nstor Gianotti, Oscar Purita
Contacto / Contact
Trivial. Pablo Ratto
T +54 9 11 5117 1969 +54 11 4837 9529
W trivialmedia.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

55

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Juan Meisen ha muerto


Juan Meisen Is Dead
La desaparicin de Juan permite recorrer la historia de cada
uno de los integrantes de un grupo de amigos. Con un leve tono
de comedia y cotidianidad, este drama intenta reflejar el inconsciente colectivo de una generacin de jvenes madrynenses.

The disappearance of Juan is an excuse to tell the story of each


member of a group of friends. With a slight, everyday comedic
tone, this drama tries to reflect the collective unconscious of a
generation youngsters from the city of Puerto Madryn.

Situada en Puerto Madryn y lejos del avistaje de ballenas, esta


pera prima presenta a una generacin joven y lugarea bastante desprogramada, viviendo el da a da, y sin mucho proyecto por delante. Con un casting que combina actores profesionales con no actores, el film, que destaca por su trabajo de
direccin, da cuenta de las distintas relaciones interpersonales
en un grupo de amigos: sus romances, celos, competencias,
noviazgos, peleas y desengaos, entre grandes momentos de
humor construidos a base de dilogos memorables y otros
en los que aparece una mirada crtica para pensar serias
cuestiones generacionales y coyunturales. Consecuente con la
perspectiva propuesta a lo largo del relato, y tal como ttulo lo
preanuncia, la pelcula le reserva a Juan, el joven protagonista,
un dramtico desenlace. Violeta Bava

Set in Puerto Madryn and far from whale watches, this first feature presents a carefree generation of locals living the day-today, without many projects ahead of them. With a cast that combines professional and non-professional actors, the film, which
stands out for the way its directed, tells of the different interpersonal relationships among a group of friends: their romances,
jealousy, competitiveness, courtships, fights and disappointments, articulating great moments of humor built from some
memorable dialogue with others of a sharp tone, in which a
critical point of view appears to reflect on serious generational
and contextual issues. Consistent with the perspective brought
forward throughout its narrative, and as the title foreshadows,
Juan, the young protagonist, will face a dramatic outcome. VB

Felipe Bergao
Naci en Buga Valle del Cauca, Colombia, en 1990. Termin sus estudios
en la Universidad del Cine como profesor de direccin cinematogrfica.
Juan Meisen ha muerto es su primer largometraje como realizador.
He was born in Buga Valle del Cauca, Colombia, in 1990. He finished
his studies at the Universidad del Cine as professor in filmmaking. Juan
Meisen Is Dead is his first feature as a director.

56

Argentina / Colombia, 2016 /80 / DCP / Color / Espaol - Spanish


D, G: Felipe Bergao F: Nicols Vallejo E: Daniela Benedetti
DA: Estefania Riosa, Victoria Luro S: Gonzalo Komel
P: Alexan Sarikamichian CP: Universidad del Cine, Magenta Films,
Viento a Favor I: Benjamn Coelho, Sofa Brito, Federico Mosquera,
Luci Bogado, Pilar Firdman
Contacto / Contact
Magenta Films. Juan Diego Puentes, Nicols Vallejo
T +54 11 3666 2681
E felipexbv@hotmail.com
W facebook.com/juanmeisenhamuerto

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia oficial argentina

Las lindas
The Pretty Ones
Melisa y sus amigas debaten acerca de lo que implica ser mujer. Pero estos relatos se contraponen con la experiencia de la
directora y protagonista, reconstruida a partir de imgenes de
archivo personal que desnaturalizan con humor los mandatos
y tabes de cada gnero.

Melisa and her friends debate on what means to be a woman.


But these stories contrast to the director and protagonists, reconstructed from the personal archive footage that distort the
genres mandates and prohibitions with humor.

En su pera prima, Melisa Liebenthal pone en juego su archivo


personal de fotos y videos, de su niez y su adolescencia, para
revisarlo en el presente desde una perspectiva de gnero. Aparece all, con buen sentido del humor, una mirada aguda y crtica
acerca de los comportamientos y las relaciones del grupo ntimo
de amigas, la moda y los looks adoptados en cada momento, las
canciones y las coreografas, los amoros y los desengaos. En
medio de todo este mundo teen, la directora pone el acento en
cmo se prefigura un modelo de mujer al que pareciera que hay
que responder de acuerdo con cierta expectativa social. Con
gracia, astucia y gran espritu ldico, este trabajo autobiogrfico
pone en evidencia por qu esos modelos no necesariamente se
condicen con los procesos personales ms propios y genuinos.
Violeta Bava

On her first film, Melisa Liebenthal throws in her personal archive of pictures and videos from childhood and adolescence,
in order to review it from the present day through a gender perspective. With a good sense of humour, the film features an
acute and critical view of the behaviours and relationships within an close group of friends, as well as their temporary looks,
songs and choreographies, their love stories and heartbreaks.
In that teenage world, the director stresses the way in which
a certain notion of women forms should seemingly be met according to a certain social expectation. With grace, wit, and a
very playful spirit, this autobiographical piece sheds a light on
the way those role models doesnt necessary match personal
and more genuine evolutions. VB

Melisa Liebenthal
Naci en Buenos Aires en 1991. Estudi direccin de cine en la FUC,
donde actualmente prepara su tesis de graduacin. Actualmente trabaja
como editora y distribuidora de cortometrajes, y ha realizado los cortos
Airportness (2010) y Alegra del hogar (2013). Esta es su pera prima.
She was born in Buenos Aires in 1981. She studied filmmaking at the
FUC, where she is currently preparing her graduation thesis. She currently works as a short film editor and distributor, and directed the short films
Airportness (2010) and Alegra del hogar (2013). This is her first film.

Argentina, 2016 / 77 / DCP / Color & B&N


Espaol - Spanish
D, G: Melisa Liebenthal F: Lucas Prez Sosto E: Sofa Mele,
Melisa Liebenthal S: Marcos Canosa M: ngeles Otero
P: Eugenia Campos Guevara PE: Eugenia Campos Guevara
I: Josefina Roveta, Victoria DAmuri, Sofa Mele, Camila Magliano,
Michelle Sterzovsky, Melisa Liebenthal
Contacto / Contact
T +54 9 11 6003 0320
E laslindaspelicula@gmail.com
W facebook.com/laslindaspelicula

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

57

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Mi ltimo fracaso
My Last Failure
Cecilia, una joven coreano-argentina, est realizando un documental. A partir de su relacin con sus amigas coreanas, ir
descubriendo de qu manera las distintas identidades culturales determinan la vida de las personas en su aspecto ms
ntimo: sus relaciones sentimentales.

Cecilia, a young Korean-Argentinian woman, is making a


documentary. Through her relationship with her Korean
friends, she will discover how the different cultural identities
determine the lives of people in their most intimate aspect:
their love relationships.

Hay muchas pelculas que atraviesan la pera prima de Cecilia


Kang; hay un film familiar sobre su hermana, su madre, su ta, su
abuela Hay tambin uno sobre el hecho de ser una mujer argentina y de orgenes coreanos visitando Corea. Y otro sobre ser
una mujer coreana que a la vez ejerce de portea. Est el amor
familiar, la amistad, las pequeas y grandes tragedias, la emancipacin, el desamor, la creatividad. Y todas esas vas nunca nos
conducen a una sensacin de deriva; son partes de un mosaico
que se acomoda en la cabeza del espectador gracias a un eje
slido y fuertemente emocional: la propia vida de la directora que
en una espontnea y amorosa muestra de generosidad dedica
Mi ltimo fracaso a (en este orden) una profesora de la infancia,
sus eternas amigas y su hermana. Fran Gayo

There are many films piercing through Cecilia Kings first feature; theres a film about a family (her sister, her mother, her
aunt, her grandmother) Theres also one about being an Argentinian woman of Korean descent visiting Korea. And another
one about being a Korean woman who, at the same time, acts
like someone from Buenos Aires. Theres family love, friendship,
the small tragedies and the great ones, emancipation, heartbreak, creativity. And none of these storylines drives us to a feeling of drift; they are parts of a mosaic that is pieced together in
the viewers head thanks to a solid, strongly emotional core: the
life of the director, who, in a spontaneous and loving display of
generosity, dedicates My Last Failure to (in this order) a teacher
from childhood, her eternal friends and her sister. FG

Cecilia Kang
Estudi cine en la ENERC. Dirigi varios cortometrajes que participaron
en diversos festivales, entre ellos, Videojuegos (2014).
She studied film at the ENERC. She directed many short films that were
part of many festivals, including Videojuegos (2014).

Argentina, 2016 / 61 / DCP / Color


Espaol / Coreano - Spanish / Korean
D: Cecilia Kang G: Cecilia Kang, Virginia Roffo F: Diego Sagu
E: Sebastin Agullo S: Francisco Pedemonte P: Cecilia Kang, Virginia
Roffo CP: misbelovedones I: Ran Kim, Catalina Kang, Cecilia Kang
Contacto / Contact
misbelovedones. Cecilia Kang
T +54 9 11 6373 9860
E misbelovedones@gmail.com
W misbelovedones.tumblr.com ~ facebook.com/miultimofracaso

58

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial argentina

Panke
Un hombre va a Berln a buscar el cuerpo de su hermano
muerto. En ese trance, manda cartas imaginarias a su madre
en Burkina Faso, mientras reflexiona acerca de la suerte de
los inmigrantes.

A man goes to Berlin to search for the body of his dead


brother. While in trance, he sends imaginary letters to his
mother in Burkina Faso, while reflecting about the fate of
the immigrants.

Panke podra constituir una breve oda a la supervivencia, una


filigrana rebosante de pudor y concentracin sobre la melancola del inmigrante, construida con un tono tan convincente como
desapegado. El protagonista no tiene nada salvo el recuerdo
de su madre en Burkina Faso y el de un hermano que acaba
de morir. El hermano, sin embargo, demanda cosas; hay que
reconocer el cuerpo ante las autoridades de una ciudad desconocida, hacer los trmites correspondientes sin dominar el
idioma, ocuparse de su preparacin para devolverlo a su pas de
origen: todo un apartado prosaico de la muerte cuyos postulados se vuelven perentorios en medio del dolor y el desconcierto.
El personaje casi excluyente de esta pelcula singular reflexiona
sobre el peso del desarraigo, mientras emprende un viaje a pie
que lo conduce a una improbable situacin de tregua en sus
tribulaciones. David Obarrio

Panke could stand as a brief ode to survival; a very careful filigree about the melancholy of immigrants, made with a
both convincing and unattached tone. The main character has
nothing but the memory of his mother in Burkina Faso and his
brother who just died. His brother, however, demands things.
The body needs to be recognized before the authorities of an
unknown city, file the necessary papers without really speaking
the language, and take care of the arrangements to return the
body to its home country: a whole prosaic annex of death with
rules that become urgent amidst the pain and disconcert. The
almost sole character of this singular film reflects on the weight
of being uprooted as he sets on a trip by foot towards an unlikely
situation of truce on his tribulations. DO

Alejo Franzetti
Naci en Buenos Aires en 1985. Estudi en la Universidad del Cine. Sus
tres cortos Todas las veces (2006), El contrabajo (2008, ganador del
Fondo Metropolitano y de la Competencia de Cortos) y Dos experiencias
en el bosque (2014) fueron exhibidos en el Bafici.
He was born in Buenos Aires in 1985. He studied at Universidad del
Cine. His three short films Todas las veces (2006), El contrabajo (2008,
winner of the Metropolitan Fund and the Short Film Competition), and Dos
experiencias en el bosque (2014) were screened at Bafici.

Argentina / Alemania / Burkina Faso - Argentina / Germany /


Burkina Faso, 2016 / 46 / DCP / Color
Bissa / Alemn / Francs - Bissa / German / French
D, G, F, E, P: Alejo Franzetti S: Ricarda Holztrattner
M: Bach Schumann CP: FUGA Films, Universitt der Knste Berlin
I: Issaka Zoungrana, Konstantin von Sichart
Contacto / Contact
FUGA Films. Alejo Franzetti
T +49 173 725 4308
E alejofranzetti@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

59

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Primavera
Spring
Leopoldo es un nio de 11 aos que creci rodeado de artistas.
Durante los tres meses de la primavera (la pelcula comienza
el 21 de septiembre y termina el da de Navidad), el chico descubre el amor en una joven compaera de su clase de poesa
y vive su primera desilusin amorosa.

Leopoldo is an 11-year-old boy who grew up surrounded by


artists. During the three months of spring (the film begins on
September 21st and ends on Christmas Day) the boy founds
love with a young poetry classmate and experiences his first
heartbreak.

Solo o en grupo, Santiago Giralt tiene especial predileccin por


los actores; no solo como parte de sus pelculas, sino porque
adems le interesan la actuacin y los ensayos como tema. En
Primavera va ms all: hay ensayos, pero tambin convivencia,
cruces y crecimientos varios entre familias, parejas, directores,
mnagers y otros roles que orbitan alrededor de actores y actrices, incluso hijos. Pero Primavera, desde su nombre, promete adems un despertar: esta pelcula de Giralt est llena de
colores, de humor, de gritos, de euforias, de romances. Si no
es nada sencillo trabajar con un elenco con tantos nombres y
rostros reconocibles, ms difcil an es relatar sin pausas conflicto tras conflicto y hacerlo con claridad expositiva. Giralt dirige
una orquesta enorme y le hace dar el tono exacto que l quiere:
uno estridente y alejado de cualquier apata. Javier Porta Fouz

Alone or as part of a group, Santiago Giralt has a special preference for actors; not only as part of his films, but also because
hes interested in acting and rehearsals as subjects. In Primavera, he goes one step beyond: there are rehearsals, but also
coexistence, arguments and growths among families, couples,
directors, managers, and other roles that have to do with actors and actresses; even children. But Primavera, from its very
name, also promises an awakening: this film by Giralt is full
of colors, humor, shouting, euphoria, romance. It isnt easy to
work with a cast that includes so many recognizable names and
faces, but its even harder to narrate conflict after conflict without a pause, and doing so with expository clarity. Giralt conducts
an enormous orchestra and achieves the exact tone hes looking
for: one strident and far from any kind of apathy. JPF

Santiago Giralt

Argentina, 2016 / 86 / DCP / Color / Espaol - Spanish

Naci en Venado Tuerto en 1977. Hizo tres pelculas en colaboracin:UPA!


Una pelcula argentina (Bafici 07), Las hermanas L. y UPA! 2 El regreso
(Bafici 15) y seis en solitario: Toda la gente sola, Antes del estreno,
Anagramas (Bafici 14), Here Kityy Kitty!, Jess & James (Bafici 16) y
Primavera (Bafici 16).
He was born in Venado Tuerto in 1977. He directed three collaborative
films: UPA! Una pelcula argentina (Bafici 07), Las hermanas L., and UPA!
2 El regreso (Bafici 15) and six by himself: Toda la gente sola, Antes del
estreno, Anagramas (Bafici 14), Here Kitty Kitty!, Jess & James (Bafici
16) and Primavera (Bafici 16).

60

D, G: Santiago Giralt F: Tincho Velasco E: Eliane Katz, Andrs Quaranta


DA: Marianela Fasce S: Jsica Surez P: Diego Dubcovsky, Alex Zito,
Federico Carol PE: Diego Dubcovsky, Gastn Rothschild, Federico Carol
CP: BD Cine, AZ Films, Los Griegos, Sudestada Cine
I: Catarina Spinetta, Nahuel Mutti, Angelo Mutti Spinetta,
Mike Amigorena, Chino Darn
Contacto / Contact
BD Cine, AZ Films, Los Griegos
T +54 11 4832 8838
E info@bdcine.net W bdcine.net

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial argentina

Primero enero
January
Recientemente divorciado, Jorge prepara la ltima visita a la
casa de las sierras antes de ponerla en venta. All planea compartir junto a su hijo Valentino una tradicin familiar. Pero las
diferencias entre padre e hijo ponen en jaque su estada.

Recently divorced, Jorge prepares his last visit to his house in


the mountains before putting it on sale. While there, he tries to
share a family tradition with his son Valentino. But the differences between father and son will threaten their stay.

Primero enero se ubica con comodidad en una lnea diferente


del nuevo cine cordobs reciente: menos cinfila y avasallante,
menos extrovertida, ms delicada e ntima. El padre y el hijo
llevan la ausencia de la madre como pueden; el hombre se
guarda las diatribas delante del chico, pero cada tanto se le
escapa alguna acusacin mascullada hacia la ex mujer. La pelcula filma a los dos en pie de igualdad, aunque est claro que
el peso emotivo de la historia recae primero sobre el pequeo,
cuyo desconcierto el padre trata de apaciguar con caminatas
extenuantes y charlas de varones en vacaciones. Luego, recae
sobre el adulto, que se encuentra ante el deber novedoso de
llenar el tiempo con su hijo. Los planos aireados, la luminosidad
del paisaje y la discrecin general del pulso narrativo establecen
el marco para una clase de emocin obstinada que impregna
cada escena. David Obarrio

January can comfortably be placed somewhere different from


the rest of the recent new cinema from the province of Crdoba:
less cinephiliac and overwhelming, less extroverted, more delicate and intimate. The father and the son deal with the mothers
absence they way they can; the man avoids diatribes in front of
the boy, but every now and then he mumbles a few accusations
towards his ex-wife. The film captures both of them equally, although its clear the storys emotional weight first falls in the
little kid. His father will try to ease his bewilderment through
extenuating walks and chats between men on vacation. Later,
the weight will fall on the adult, whos faced with the duty of
spending time with his son. They airy shots, the luminosity of
the landscape and the general discretion of the narrative hand
establish the framework for a kind of obstinate emotion that
impregnates every scene. DO

Daro Mascambroni

Argentina, 2016 / 65 / DCP / Color / Espaol - Spanish

Naci en Crdoba, Argentina, en 1988. Tras finalizar sus estudios en


cine escribi El tren seguir pasando, guion suplente del concurso pera
Prima 2012 del INCAA. Primero enero es su primer largometraje como
director. Actualmente se encuentra preproduciendo Mochila de plomo,
proyecto ganador del concurso Raymundo Gleyzer.
He was born in Crdoba, Argentina, in 1988. After finishing his film studies, he wrote El tren seguir pasando, reserve script at the INCAAs First
Feature contest. January is his first feature as a director. He is currently
preproducing Mochila de plomo, a project that won the Raymundo
Gleyzer contest.

D, G: Daro Mascambroni F: Nadir Medina E: Luca Torres


DA: Paola Raspo S: Federico Disandro P: Yanina Moyano
PE: Yanina Moyano, Daro Mascambroni I: Valentino Rossi,
Jorge Rossi, Eva Torres
Contacto / Contact
Daro Mascambroni
T +54 9 351 758 7666
E distribucion.elcalefon@gmail.com

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61

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Quizs hoy
Today Maybe
Miguel, un treintaero que trabaja en un estudio jurdico, vive
pesadamente todas y cada una de sus actividades, hasta que
un da, al despertar para seguir con su rutina, advierte la posibilidad de cambiar su vida y su trabajo y conocer a la mujer
de sus sueos.

Miguel, a thirty-something who works at a law firm, suffers


each and every one of his activities, until one day, when he
wakes up in order to go on with his daily routine, he sees the
chance of changing his life and his job and meeting the woman
of his dreams.

Cuando su psicoanalista le sugiere que anote todo lo que piensa, siente y suea por las noches, Miguel cobra la conciencia
atroz de que cada da de su vida es una fotocopia exacta del
anterior. En blanco y negro, adems. Levantarse de la cama,
ir al bao, atravesar Buenos Aires en bicicleta, su trabajo en
un estudio jurdico: todo le cuesta horrores, todo lo hace con
pesadez y desgano, y as nos lo comunica directamente su aparatosa voz interior (cuando no est canturreando cosas como
pedaleo, pedaleo, caca y pedo con olor a huevo). Como si
algn extraterrestre con el sentido del absurdo altamente desarrollado aterrizara en un film de Ozu o Bresson, Quizs hoy
es la crnica marciana y desopilante del da en que la ciudad
entera parece conspirar para que Miguel cambie, por fin, de
vida. Agustn Masaedo

Miguels therapist suggests he should write down everything


he thinks, feels, and dreams at night. That makes him aware of
the fact that every single day in his life is an exact Xerox copy
of the day before and in black and white. Getting out of bed,
going to the bathroom, bicycling across Buenos Aires, his job in
a law firm: he finds it all so hard to do, and goes on unwillingly
and heavy-handedly. And he tells us all this with his dorky inner voice, when hes not singing things like pedaling, pedaling,
poop and farting. As if a film by Ozu or Bresson was invaded
by an alien with a highly developed sense of absurdity, Quizs
hoy is the Martian and hilarious chronicle of one day when the
whole city seems to be conspiring to get Miguel to finally change
his life. AM

Sergio Corach

Argentina, 2016 / 77 / DCP / Color & B&N / Espaol - Spanish

Naci en diciembre de 1978 en Buenos Aires, y es egresado de la


ENERC. Ha dirigido algunos cortometrajes y videoclips.
He was born in December in 1978 in Buenos Aires and is an ENERC
graduate. He has directed some shorts and music videos.

D, DA, P, PE: Sergio Corach G: Sergio Corach, Pablo Maurette


F: Alejandro Padin E: Oscar Currs S, M: Ral Moller-Jensen
CP: Concionator Otii I: Sergio Corach, Ezequiel Luduea,
Luciana Rizzo, Luciana Sez, Ana Laura Surez Cassino
Contacto / Contact
Concionator Otii. Sergio Corach
T +54 11 4921 2569 +54 9 11 6926 7297
E spectorotii@gmail.com
W quizashoyfilm.blogspot.com.ar ~ facebook.com/quizashoyfilm

62

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial argentina

Rados
Frayed

Los barrios que rodean la ciudad de Montecarlo, en la provincia de Misiones, estn poblados casi enteramente por familias
cosechadoras de hojas de yerba mate, conocidos como tareferos. A los jvenes no les queda otra opcin que subsistir da
a da en los yerbales.

Lo primero que vemos es un interttulo que nos sita en la provincia de Misiones y nos habla de los tareferos, o quienes cinco
meses al ao se dedican a la recoleccin de la cosecha de
yerba mate. Hasta aqu, la nica concesin a la convencionalidad de esta pelcula. Afortunadamente, y eludiendo la distancia
entomolgica, Rados nos conduce a una experiencia sensorial,
exuberante, en la que los recolectores no funcionan como meras comparsas del film, entes que trabajan en silencio mientras
son registrados, sino como grupo humano que convive, discute
sobre los sueldos, despide al hijo que se va a la ciudad, se
entrega sin miedo a los excesos de la noche o comienza sus
jornadas laborales cuando apenas ha amanecido y el humo de
una hoguera se corta con los restos de niebla que permanecen.
Fran Gayo
Diego Marcone
Naci en Buenos Aires en 1984. Se gradu de la carrera de Diseo de
Imagen y Sonido de la UBA. Desde 2006 trabaja en posproduccin de
sonido para cine y TV.
He was born in Buenos Aires in 1984. He graduated in image and sound
design at the UBA. Since 2006, he has been working in sound postproduction for film and TV.

The neighborhoods that surround the city of Montecarlo, in the


province of Misiones, are populated almost entirely by families
that harvest yerba mate, known as tareferos. The young have
no other choice but to subsist day after day at the plantations.

The first thing we see is an intertitle that sets the story in the
province of Misiones, and tells us about tareferos, or who up to
five months a year are recollection workers for the yerba mate
harvest. Thats the only concession the film does to conventional narrative. Fortunately, Rados eludes any entomological
distance while leading us to a sensorial, exuberant experience,
where pickers are not mere extras or people working in silence
as they are being recorded, but they rather act as a human
group that coexists, discusses salaries, sends off a son who is
moving to the city, fearlessly dives into excess at night, or begins
its workdays at the break of dawn, as the smoke from a fire is
interrupted by the remains of the fog that still lingers on. FG

Argentina, 2016 / 75 / DCP / Color


Espaol / Guaran - Spanish / Guarani
D, G: Diego Marcone F: Lucas Timerman, Diego Marcone
E: Diego Marcone, Andrea Kleinman DA, PE: Alexis Trigo
S: Jernimo Kohn, Alejandro Seba M: Dante Frgola, Pablo Breardi
P: Alexis Trigo, Diego Marcone CP: La Marmota Contenidos
I: Daro Lemos, Mauro Lemos, Walter Lemos, Sergio Correa
Contacto / Contact
La Marmota Contenidos. Alexis Trigo
T +54 9 11 5956 4809
E alexistrigo@gmail.com W facebook.com/raidos.pelicula

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63

PREMIERE MUNDIAL / WORLD PREMIERE

argentine official competition

Solar
En 1991, con solo diez aos, Flavio Cabobianco public su libro
Vengo del sol, que fue un best seller en Argentina. Veinte aos
despus, decide reeditarlo y acepta la propuesta de filmar un
documental sobre la historia de su familia.

In 1991, when he was only ten, Flavio Cabobianco published


his book Vengo del sol, which was a best seller in Argentina.
Twenty years later, he decides to republish it and accepts the
proposal of making a documentary on the history of his family.

Solar retrata a un nio prodigio del mundo new age que a los
diez aos public el libro Vengo del sol y se convirti en algo
as como un iluminado. Tambin capta a un director que intenta
hacer una pelcula sobre este nio devenido adulto y sostiene
un proceso por aos, aceptando los accidentes o las pequeas
catstrofes cotidianas y dando por tierra un mayor grado de
control que el que las circunstancias le permiten. As, espejo de
s misma, la pelcula gira sobre su eje y, en lugar de fracasar,
se reafirma. El nio ahora adulto prefiere ya prescindir de intermediarios; el director asume que es mejor aceptar que oponer
resistencia, y en ese pase de manos en el que parecieran confabularse tanto el azar como las buenas decisiones es donde se
despliega una pelcula que se vuelve nica. Magdalena Arau

Solar portrays a child prodigy from the new age world who published the book I Come from the Sun at ten a visionary of sorts.
It also captures a director trying to make a film about this kid,
now a grownup, and sticks to a process for years, accepting the
accidents or the small everyday catastrophes and renouncing
a higher degree of control than the circumstances allow. This
way, a mirror of itself, the film spins on its own axis and, instead
of failing, it reaffirms itself. The former kid now prefers to do
without any middlemen; the director comes to terms with the
fact that accepting that is better than resisting, and it is in that
relay in which chance and good decisions seem to collude that
a unique film unfolds. MA

Manuel Abramovich
Naci en Buenos Aires en 1987, y estudi direccin de fotografa en la
ENERC. Tambin particip del Talent Campus de Berln y dirigi los cortos
La reina (2013; Bafici 14) y Las luces (2014, Bafici 15).
He was born in Buenos Aires in 1987, and studied cinematography at the
ENERC. He also attended Berlins Talent Campus and directed the shorts
La reina (2013; Bafici 14) and Las luces (2014, Bafici 15).

Argentina, 2016 / 73 / DCP / Color


Espaol / Ingls - Spanish / English
D, P, PE: Manuel Abramovich G: Manuel Abramovich,
Flavio Cabobianco, Fernando Krapp, Javier Zevallos
F: Manuel Abramovich, Flavio Cabobianco E: Anita Remn
S: Sofa Straface I: Flavio Cabobianco, Marcos Cabobianco,
Alba Zuccoli de Cabobianco
Contacto / Contact
Manuel Abramovich
T +54 9 11 4779 0053
E abramanuel@gmail.com W cargocollective.com/mabramovich

64

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial argentina

Taekwondo
Fernando est de vacaciones con sus amigos en una quinta
en Ezeiza. Descansan en la pileta, toman alcohol, fuman, y
sacan a la luz sus intimidades ms profundas mientras exhiben una libertad ldica, como si fueran nios en una colonia
de vacaciones.

Fernando in on vacation with his friends at a holiday home in


Ezeiza. They rest in the pool, drink alcohol, smoke and bring
their deepest secrets to light while they display a playful freedom, as though they were kids at summer camp.

Con sus pelculas en solitario, Berger y Farina haban demostrado un talento singular (o dos talentos) para construir algo
as como ballets de cuerpos masculinos semidesnudos. Esta
comedia despreocupada y veraniega, que fluye entre dilogos
hiperblicamente heterosexuales desmentidos con gracia sutil
por las imgenes, se revela como el campo de juego ideal
para dar un paso ms en ese programa. Faunos que se abrazan al borde de la pileta, se exhiben en calzoncillos, se trenzan
en lucha amistosa, se miden: esos son los movimientos visibles de la coreografa que ejecuta Taekwondo. Pero, debajo
de su superficie luminosa, empapada por los rayos naranja
del sol, late una cualidad inasible que bien podra pertenecer
al mundo de los sueos o al de los deseos incluidos en los
sueos. Agustn Masaedo

With their solo films, Berger and Farina had shown a unique
talent (or talents) for making ballets of sorts populated by
half-naked male bodies. This carefree summer comedy, that
flows through hyperbolically heterosexual lines of dialogue
refuted with subtle flair by the images, proves to be the ideal
playing field to take one more step in that direction. Fauns
hugging each other beside the pool, in their underwear, getting into friendly fights, measuring each other: those are the
visible movements in the choreography carried out by Taekwondo. But underneath its luminous surface, soaked by the
suns orange beans, hides an ethereal quality that could well
belong to the dream world, or that of the desires included
in dreams. AM

Marco Berger

Argentina, 2016 / 105 / DM / Color / Espaol - Spanish

Naci en Argentina en 1977. Dirigi los largos Plan B (Bafici 09),


Ausente (Bafici 11), Hawaii (Bafici 13) y Mariposa (2015).
He was born in Argentina in 1977. He directed the features Plan B (Bafici
09), Absent (Bafici 11), Hawaii (Bafici 13) and Butterfly (2015).

Martn Farina
Naci en Buenos Aires en 1982. Es licenciado en Comunicacin. Dirigi
varios largometrajes, entre ellos, Fulboy (Bafici 14) y El hombre de paso
piedra (Bafici 15).
He was born in Buenos Aires in 1982. He majored in communication and
directed Fulboy (Bafici 14) and El hombre de paso piedra (Bafici 15).

D, DA, P: Marco Berger, Martn Farina G, E: Marco Berger


F: Martn Farina S: Jorge Barilari, Toms Fernndez Juan
M: Pedro Irusta PE: Marco Berger, Martn Farina, Veronica Argenzio
CP: Cinemilagroso I: Gabriel Epstein, Lucas Papa, Nicols Barsoff,
Francisco Bertn, Andrs Gavald, Daro Mio, Juan Manuel Martino,
Gastn Re, Arturo Frutos
Contacto / Contact
Cinemilagroso
T +54 11 3004 2444 E farinamartin@gmail.com
W cinemilagroso.com.ar ~ filmtaekwondo.com.ar

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65

competencia vanguardia y gnero


avant-garde & genre competition

PREMIERE MUNDIAL / WORLD PREMIERE

avant-garde & genre competition

Disco Limbo
Un chico se enamora de otro que ve por primera y nica vez en
una fiesta, pero que luego desaparece entre la gente. Entonces, el enamorado emprende una bsqueda desesperada para
reencontrarse con su objeto de deseo.

A boy falls in love with another one he sees for the first and
last time at a party, but who then disappears among the
crowd. He then embarks on a desperate search to reunite
with his object of desire.

Un chico conoce fugazmente a otro en una fiesta y, luego de un


rapto de enamoramiento, lo pierde de vista. Empieza la bsqueda, que tiene tanto de amor como de exorcismo. Con la ayuda
de una amiga que ahora vive lejos, pero a su modo lo acompaa,
trata de localizarlo en fiestas y situaciones similares a las del
primer encuentro. Pero nada de esto es lo que parece. Sobre
terreno conocido para la ficcin, Disco Limbo planta bandera
inventando su idioma hecho de paisajes montaosos, voces de
doblaje, topografas animadas, tutoriales, videojuegos, desiertos,
karaokes y fiestas interminables. El resultado es un viaje en el
que tiempo y espacio no son necesariamente amigos, y donde
entre palabra e imagen hay tanta distancia como entre el chico
que busca y el que concluimos escapa. Magdalena Arau

A young man briefly meets another young man in a party and


loses sight of him after a experiencing a quick crush. The search
begins, with both love and exorcism. With the help of a girlfriend who now lives far away but keeps him company in her
own way, he tries to find him in parties and similar situations to
that of their first encounter. But none of this is actually what it
seems. Disco Limbo plants its flag on common fiction grounds
and creates its own language, made of mountain settings,
dubbed voices, animated topographies, tutorials, video games,
deserts, karaoke, and endless parties. The result is a journey in
which time and space arent necessary companions, and where
theres so much distance between words and pictures as it exists between the boy who is searching and the one who we can
conclude is escaping. MA

Fredo Landaveri / Mariano Toledo


Nacieron en Buenos Aires en 1987, y se conocieron estudiando diseo
de imagen y sonido en la UBA. A partir de all, colaboraron juntos en la
realizacin de varios videoclips para artistas como Wendy Sulca y Los
Sultanes. Disco Limbo es su primer largometraje.
They were born in Buenos Aires in 1987, and met while studying image
and sound design at the UBA. Later, they collaborated with each other in
the making of many music videos for artists like Wendy Sulca and Los
Sultanes. Disco Limbo is their first feature.

68

Argentina, 2016 / 70 / DCP / Color & B&N


Espaol / Italiano - Spanish - Italian
D, E: Fredo Landaveri, Mariano Toledo G, P, PE: Fredo Landaveri,
Mariano Toledo, Ivana Brozzi F: Mariano Toledo S: Begoa Cortzar,
Andres Marks, Juan Caille, Ivana Brozzi M: Ivana Brozzi CP: Vaca Ninja
Contacto / Contact
Vaca Ninja. Mariano Toledo
T +54 9 11 5505 8773
E marianotoledo@gmail.com
W discolimbo.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia vanguardia y gnero

Una novia de Shanghai


A Shanghai Bride
Dos pcaros deambulan por una ciudad extraa, sin hogar ni
familia, y se ganan la vida mientras fantasean con un golpe
de suerte.

Two scoundrels wander through the strange city, without a


family or a home, making a living and fantasizing about a
stroke of luck.

Una novia de Shanghai tiene un tono de fbula, una comicidad


distante llena de elegancia y la conviccin cabal de que el
cine es una aventura sin beneficio de inventario. Un salto al
vaco en el que las imgenes nunca deben mostrar todo, pero
deben ser capaces de sugerirlo y tambin lanzarse sobre el
mundo y abarcar lo que se pueda, exhibiendo una determinacin y una destreza que no siempre se est seguro de poseer.
Tras el impactante comienzo del film, en el que parecen bullir
cientos de historias y de tramas posibles, hermanadas por el
hilo invisible con el que se teje el misterio de una gran urbe,
el director encuentra a sus protagonistas, una pareja de buscavidas que practica la indolencia pero tambin la ilusin de
los desesperados: la pelcula asitica de Andrizzi es tambin
el relato de un sueo imposible en el que los muertos hacen
andar a los vivos. David Obarrio

A Shanghai Bride has a fable tone, a very elegant, distant comic


element, and the full certainty that cinema is an adventure with
no chance of an inventory. Its a plunge in which images should
never ever show everything, instead they must be able to suggest it, and also throw themselves to the world and reach as far
as they can, exhibiting a determination and skill that may not be
there. After the shocking beginning of the film, where hundreds
of stories and plots appear to be boiling up and connected by
the invisible thread that weaves the mystery of a huge city, the
director also finds its protagonists, a couple of indolent hustlers
with the illusions of the desperate ones: Andrizzi's Asian film
is also the story of an impossible dream in which the dead make
the living walk. DO

Mauro Andrizzi

Argentina / China, 2016 / 70 / DCP / Mandarn

Naci en Mar del Plata, Argentina, en 1980. Estudi guion en la ENERC, y


en 2006 fund su productora Mono Films. Dirigi los largometrajes Mono
(2007), Iraqi Short Films (2008; Bafici 09), En el futuro (2010; Bafici 13)
y Accidentes gloriosos (2011; Bafici 12).
He was born in Mar del Plata, Argentina, in 1980. He studied screenwriting
at the ENERC and founded his production company Mono Films in 2006.
He directed the features Mono (2007), Iraqi Short Films (2008; Bafici 09),
In the Future (2010; Bafici 13) and Glorious Accidents (2011; Bafici 12).

D, G: Mauro Andrizzi F: Yao Zi-long E: Francisco Vzquez Murillo


DA: Wang Jing-ping S: Manuel de Andrs PE: Pablo Salomn,
Mauro Andrizzi CP: Mono Films I: Lorena Damonte, Jiao Jian,
Hu Chen-gwei, Sun Yu-han, Lian Hong-feng
Contacto / Contact
Mono Films. Mauro Andrizzi, Pablo Salomn
T +54 9 11 5644 2358 ~ +54 11 4074 6161
E mauroandrizzi@gmail.com ~ pasalo@fibertel.com.ar
W monofilms.com.ar

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69

PREMIERE AMERICANA / AMERICAN PREMIERE

fuera de competencia - out of competition

avant-garde & genre competition

Homo Sapiens
Qu quedar de nuestras vidas despus de que nos hayamos
ido? Eso es lo que pregunta esta pelcula, que explora la finitud
y la fragilidad de la existencia humana vista desde un posible
futuro apocalptico.

What remains of our lives after were gone? Thats the question posed by this film, which explores the finiteness and frailty
of human existence from a possible apocalyptic future.

El director de Over the Years (que tambin pas por el Forum de


la Berlinale) logra que sus documentales de observacin tengan
una extraa narrativa que nos atrapa desde el primer minuto de
proyeccin. En este caso, la proeza es mayor porque la pelcula
no tiene dilogos ni voces humanas (aunque sean silentes). Se
trata de la edicin de planos de lugares abandonados, en los
que la naturaleza va retomando el control de aquello que alguna
vez el hombre supo dominar. Fbricas destartaladas, carreteras
en las que crecen los yuyos, cines y teatros en ruinas dialogan
en un continuo sin que se oiga otro sonido que el del silencio.
El resultado es tan intrigante como sobrecogedor, un encuentro
improbable entre scouting de locaciones para pelculas de Tsai
Ming-liang y ficcin postapocalptica. Fernando E. Juan Lima

The director of Over the Years (which was also part of the Berlinales Forum) succeeds in giving his observation documentaries
a strange narrative that gets us hooked from the first minute of
their projection. In this case, the prowess is greater because this
film has no dialogue or human voices (not even silent ones). Its
a montage of shots of abandoned places, where nature starts
regaining control on what men once dominated. Rundown factories, highways where weeds grow and theaters in ruins converse in a continuum without us hearing any sound other than
that of silence. The result is as intriguing as it is overwhelming,
an unlikely meeting between a location scouting for Tsai Mingliang films and post-apocalyptic fiction. FEJL

Nikolaus Geyrhalter
Naci en Viena, Austria, en 1972. A los 22 aos fund la compaa Nikolaus Geyrhalter Filmproduktion, focalizada en documentales y ficciones
de autor. Entre sus documentales como realizador se encuentran Pripyat
(1999), Elsewhere (2001), 7915 Km (2008), Abendland (2011) y Over
the Years (Bafici 15).
He was born in Vienna, Austria, in 1972. At the age of 22, he founded the
Nikolaus Geyrhalter Filmproduktion company, focused on auteur documentaries and fictions. His documentaries as a filmmaker include Pripyat
(1999), Elsewhere (2001), 7915 Km (2008), Abendland (2011), and Over
the Years (Bafici 15).

70

Austria, 2016 / 94 / DCP / Color


D, F: Nikolaus Geyrhalter E: Michael Palm S: Peter Kutin,
Florian Kindlinger P: Nikolaus Geyrhalter, Michael Kitzberger,
Wolfgang Widerhofer, Markus Glaser PE: Michael Kitzberger
CP: NGF - Nikolaus Geyrhalter Filmproduktion
Contacto / Contact
Autlook Filmsales. Salma Abdalla
T +43 720 346 934
E welcome@autlookfilms.com
W autlookfilms.com ~ homosapiens-film.at

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia vanguardia y gnero

Vintage Print
Estampado antiguo
Una fotografa vieja constituye el punto de partida de esta exploracin. La imagen data de fines del siglo XIX y, mediante
ella, el cineasta austraco nos traslada al epicentro de la naturaleza cinematogrfica.

An old photograph works as the starting point of this exploration. The image dates from the late-19th Century, and through
it, the Austrian filmmaker transports as to the epicenter of cinematic nature.

Como un Santiago lvarez al cuadrado (al 4K, ms precisamente), Siegfried A. Fruhauf descendiente de la Gran Generacin
austraca de Tscherkassky, Deutsch y Arnold redefine con Vintage Print la potencialidad del cine en tanto imaginacin puesta
al servicio de una economa de recursos asombrosa. Si el pionero del cine de montaje cubano pas a la inmortalidad con su
frase denme dos fotografas, una moviola y algo de msica y
les har una pelcula, Fruhauf adelgaza la receta creando trece
minutos hiperkinticos a partir de un nico negativo de vidrio
de un siglo y medio de antigedad en descomposicin. De la
figuracin a la abstraccin, de lo analgico a lo digital, de lo
documental a lo experimental, el logro definitivo de Vintage Print
es poner en marcha una road movie en sus propios trminos, en
la que lo primero que queda atrs es la propia nocin de lo que
es el cine. Pablo Marn

Like a Santiago lvarez squared (or multiplied by 4K, to be


more precise), Siegfried A. Fruhauf a descendant of Austrias
Great Generation of Tscherkassky, Deutsch and Arnold redefines with Vintage Print the power of film as imagination, at the
service of an amazing economy of resources. If the pioneer of
Cuban montage cinema became immortal when he left us his
phrase give me two photographs, a moviola, and some music,
and Ill make you a film, Fruhauf slims down that recipe by creating thirteen hyperkinetic minutes out of a single, century-old
glass negative in decomposition. Ranging from figurative to abstract art, analogy to digital, and documentary to experimental,
Vintage Prints definitive achievement is that it reverses a road
movie in its own terms, and the first thing that is left behind is
the very same notion of cinema. PM

Siegfried A. Fruhauf
Naci en Austria en 1976, y se form como gerente comercial. Estudi
diseo visual experimental en la Universidad de Diseo Artstico e Industrial de Linz. Realiz numerosas obras y espectculos en el rea de cine,
video y fotografa.
He was born in Austria in 1976, and trained as a business manager. He
studied experimental visual design at the University of Artitic and Industrial Design in Linz. He directed several plays and shows in the areas of
film, video and photography.

Austria, 2015 / 13 / DCP / Color


D: Siegfried A. Fruhauf F: Siegfried A. Fruhauf E: Siegfried A. Fruhauf
S: Anna Katharina Laggner, Siegfried A. Fruhauf, Christoph Ruschak
P: Siegfried A. Fruhauf
Contacto / Contact
sixpackfilm. Dietmar Schwarzer
T +43 1526 0990
E dietmar@sixpackfilm.com
W sixpackfilm.com

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71

avant-garde & genre competition

A morte de J.P. Cuenca


The Death of J.P. Cuenca
La muerte de J.P. Cuenca
En 2008, Cuenca recibe la sorprendente noticia de su propia
muerte: en un revs extrao, alguien haba robado su nombre
y muerto con l. Quin es ese alguien? El realizador se lanza
a una bsqueda en la que la ficcin y el thriller estn servidos
en bandeja.

In 2008, Cuenca receives the surprising news of his own


death. In a strange turn, someone had stolen his name and
died with it. Who is that person? The filmmaker embarks
on a search where fiction and the thriller genre are offered
on a tray.

Poco importa que A morte de J.P. Cuenca se asiente en el carril


de la autorreferencialidad, o que el episodio sobre el robo de la
identidad del propio director est ms o menos cerca de los hechos reales. La densidad del cine de Cuenca se encuentra en el
momento en que su mirada decide explorar coordenadas en las
que lo ficcional y lo testimonial parecen confundirse, pero ese
es solo el puntapi para acceder a zonas donde lo irresuelto es
la regla, donde la deriva de un thriller dscolo trastabilla frente
al rigor del plano corto en clave documental, donde es posible
poner la comicidad en tensin con la intriga. Y si la figuracin
desquiciada del barrio de Lapa en Ro de Janeiro se percibe
como si fuera un personaje suplementario, es por la capacidad
que tiene la pelcula de preguntarse no solo por las mutaciones
de la identidad del personaje, sino tambin por las de la ciudad
y las del cine mismo. Eduardo D. Bentez

Its not that important that The Death of J.P. Cuenca settles for
the referential, or that the episode about the directors identity theft is more or less close to fact. The density of Cuencas
cinema can be found at the very moment his eye decides to
explore coordinates in which fact and fiction seem to mix, but
that is only the kick-off point from where to reach zones where
the unresolved is the norm, where the drift of a mischievous
thriller stumbles upon the rigor of the documentary-style close
shot, where its possible to put hilarity and suspense under tension. And if the unhinged capturing of the Lapa neighborhood in
Rio de Janeiro is perceived as though it were a supplementary
character, it is due to the capability the film has of asking itself
not only for the mutations in the characters identity, but also for
those of the city and film itself. EDB

Joo Paulo Cuenca


Naci en Ro de Janeiro, Brasil, en 1978. Es autor de cuatro novelas y
una antologa de historias breves. Sus libros han sido traducidos a ocho
idiomas. A morte de J.P. Cuenca es su primer largometraje como director.
He was born in Rio de Janeiro, Brazil, in 1978. He wrote four novels and
an anthology of short stories. His books have been translated into eight
languages. The Death of J.P. Cuenca is his directorial debut.

Brasil - Brazil, 2015 / 90 / DCP / Color


Portugus - Portuguese
D, G: J. P. Cuenca F: Pedro Urano E, PE: Marina Meliande
DA: Mariana Jannuzzi S: Bernardo Uzeda M: Daniel Limaverde
P: Marina Meliande, Felipe Bragana CP: Duas Mariola Filmes
I: Joo Paulo Cuenca, Ana Flavia Cavalcanti, Paulo Roberto Pires,
Geraldo Margela, Ivo Raposo
Contacto / Contact
Duas Mariola Filmes. Marina Meliande
T +55 11 948 965 714 E dmfilmes@gmail.com
W duasmariola.com.br ~ amortede.jpcuenca.com

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competencia vanguardia y gnero

Boi Neon
Neon Bull
Toro Nen
Iremar trabaja en las vaquejadas, el tradicional rodeo del noroeste de Brasil. Pero el pas est cambiando dramticamente,
y la floreciente industria textil de la regin despierta nuevas
ambiciones en l, que empieza a soar con el diseo de moda.

Iremar works in the vaquejadas, the traditional rodeo of northwest Brazil. But the country is changing, and the flourishing
textile industry sprouts new ambitions in him, as he starts
dreaming of fashion design.

Situado en el noreste de Brasil, este film galardonado en el ltimo Festival de Venecia hace foco en el mundo de las vaquejadas, una prctica tradicional en la que dos vaqueros montados
a caballo tienen como objetivo derribar a un toro agarrndolo de
la cola. Se podra trazar un paralelismo entre el protagonista del
film y su director. Por un lado, el primero confecciona, de manera minuciosa y apasionada y sin que sepamos hacia dnde
se dirige su accin, un traje de baile que brillar al final; por
el otro, Gabriel Mascaro va tejiendo la trama de su pelcula con
precisin y agudeza, y pone el eje de su mirada en las acciones
cotidianas de los personajes, en la particularidad del contexto
rural en el que se encuentran, con la confianza de que nos conducirn a un desenlace deslumbrante. Violeta Bava

Located in Northeast Brazil, this film awarded in the last Venice


film festival focuses on the world of vaquejadas, a traditional
custom where two cowboys on horseback must take down a
bull by grabbing its tale. You could draw a parallel between the
films main character and the director. On one side, you have
the protagonist making in a passionate and thorough manner,
without us knowing why a dance suit that will shine in the end.
On the other, Gabriel Mascaro builds the plot of his film with precision and sharpness, and turns his eye towards the characters
everyday actions and the unique nature of their rural context,
confident that they will lead us to a dazzling outcome. VB

Gabriel Mascaro
Naci en Brasil en 1983, y se gradu en comunicacin social en la Universidad Federal de Pernambuco. Dirigi los largos documentales KFZ-1348
(2008), Um lugar ao sol (2009), ambos exhibidos en el Bafici 09, y
Domstica (Bafici '13).
He was born in Brazil in 1983, and graduated in social communication
at the Federal University of Pernambuco. He directed the documentary
features KFZ-1348 (2008), High-Rise (2009), both screened in Bafici
09, and Domstica (Bafici '13).

Brasil / Uruguay / Holanda - Brazil / Uruguay / Netherlands,


2015 / 104 / DCP / Color / Portugus - Portuguese
D, G: G. Mascaro F: D. Garca E: F. Epstein, E. Serrano
DA: M.Mesquita S: F. Oliver M: Otvio Santos, Cludio N,
Carlos Montenegro P: Rachel Ellis PE: R. Ellis,S. Saravia, M. Slot
CP: DESVIA, Canal Brasil, Malbicho Cine, Viking Films I: J. Cazarr,
A. Santana, C. Pessoa, M. Jinkings, V. de Oliveira
Contacto / Contact
Artscope. Sata Cissokho
T +33 1 5334 9020 E sata@memento-films.com
W memento-films.com ~ boineon.com.br

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

73

PREMIERE LATINOAMERICANA / LATAM PREMIERE

avant-garde & genre competition

Les Dmons
The Demons
Los demonios
Mientras en Montreal se produce una ola de secuestros de nios, Flix est terminando su ao escolar en un barrio aparentemente tranquilo. Poco a poco, sus demonios imaginarios comienzan a reflejar los de la perturbadora realidad que lo rodea.

While a wave of child kidnappings takes place in Montreal, Felix is finishing his school year in an apparently quiet neighborhood. Slowly, his imaginary demons start to reflect the ones
present in the disturbing reality around him.

Lassage firma su pelcula como lo haca Carpenter: Philipe


Lassages Les Dmons. Y si en las pelculas de terror clsicas
los monstruos son metforas de miedos internos, ac el proceso es inverso. Les Dmons se filma como Halloween, con largos
planos secuencia, pero ac son ms cortos e ntimos. En un
cuarto, en un vestuario, en un cumpleaos. Los miedos de la
pelcula de Lassage son los que son, sin mscara: Flix, de diez
aos, descubre su sexualidad con culpa; sus padres atraviesan
una crisis matrimonial y l est lleno de incertidumbres. Mientras tanto, unos nios comienzan a desaparecer en Montreal.
Los demonios de Les Dmons van desde pequeos traviesos
hasta verdaderos hombres de la bolsa. El inesperado final feliz
con la cancin Pata, pata es tan liberador como sacarse un
miedo (y un psicpata real) de encima. Daniel Alaniz

Lassage signs his film just like Carpenter did: Philipe Lassages
The Demons. And while monsters are metaphors for internal
fears in classic horror, here we have the exact opposite. The
Demons is shot lie Halloween, with long sequence shots, but
theyre shorter and ore intimate. They happen in a bedroom, in
a locker room, in a birthday party. The fears in Lassages film
are what they are, unmasked: Felix is ten years old and hes discovering his sexuality with guilt; his parents are going through
a marriage crisis, and he is filled with uncertainties. Meanwhile,
children start to disappear in Montreal. The demons in The
Demons range from tiny knotty ones to actual bogie men. The
unexpected happy ending with the song Pata, pata is as liberating as getting a fear (and a psycopath) out of your system. DA

Philippe Lesage

Canad - Canada, 2015 / 118 / DCP / Color / Francs - French

Naci en Canad y se desempe como profesor de cine en Dinamarca.


Es conocido por sus documentales y su largometraje de ficcin Copenhague: A Love Story (2014), seleccionado en numerosos festivales.
He was born in Canada and worked as a film professor in Denmark. He is
known for his documentaries and his fiction feature Copenhague: A Love
Story (2014), which was screened in many festivals.

D, G: Philippe Lesage F: Nicolas Canniccioni E: Mathieu BouchardMalo DA: Marjorie Rhaume S: Marcel Chouinard, Pascal Van
Strydonck, Lionel Guenoun P: Galil Marion-Gauvin
PE: Galil Marion-Gauvin CP: Les Films de lAutre, LUnit Centrale
I: Edouard Tremblay-Grenier, Pier-Luc Funk, Yannick Gobeil-Dugas,
Laurent Lucas, Sarah Mottet
Contacto / Contact
Be for Films. Claire Battistoni
T +32 485 147 390 E festival@beforfilms.com
W beforfilms.com

74

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia vanguardia y gnero

No Men Beyond This Point


Ningn hombre a partir de aqu
Este falso documental con aires de comedia est situado en
un mundo distpico en el que las mujeres pueden reproducirse asexualmente y los hombres se han vuelto intiles para la
sociedad. Las cosas se complican cuando la poblacin masculina decide que es tiempo de organizar una rebelin.

A faux documentary set in a dystopian world where women


can reproduce asexually and men have become useless to
society. Things get complicated when the male population decides its time to organize a rebellion.

Una pelcula especulativa a partir de una premisa extrema: el


fin de los hombres; no de la humanidad, sino del gnero masculino. Una comedia reflexiva en las formas del mockumentary
explotado con la seguridad que puede otorgar partir desde una
buena idea, una con potencia, una de esas que inmediatamente tienen el poder de resumir y promocionar un relato. Pero
esta pelcula de Mark Sawers est lejos de vivir con respiracin
mnima: No Men Beyond This Point apunta a la guerra de los
sexos, a las imposturas, a la forma en que se resquebrajan los
discursos nicos y totalizantes. Desde cada grieta, desde cada
contradiccin, afirma con claridad, gracia y potencia polmica
que sabe que sus temas han poblado la comedia entre (pocos) hombres y (muchas) mujeres desde hace dcadas. Javier
Porta Fouz

A speculative film with an extreme premise: the end of men


not humanity, only the male gender. This is a thoughtful comedy
with the shape of a mockumentary that gets exploited with the
type of certainty that is based on a good idea a powerful one,
the kind it can immediately summon up and promote a story.
But this film by Mark Sawers is definitely not living on shallow
breaths: No Men Beyond This Point taps into the war of the sexes, impostures, and the way totalizing, unique discourses often
come apart. Through every crack and every contradiction, the
film states with clarity, grace, and a controversial power its
awareness of the fact that these themes have been present in
comedies about (few) men and (many) women for decades. JPF

Mark Sawers
Naci en Vancouver, Canad. Cre numerosos proyectos para cine y televisin, entre ellos el cortometraje Shoes Off! (1998), ganador del premio
Mejor Cortometraje de la Semana de la Crtica del Festival de Cannes, y
el largometraje Camera Shy (2012).
He was born in Vancouver, Canada. He created several film and TV projects, including the short film Shoes Off! (1998), which won the Best Short
Film award at the Critics Week in Cannes, and the feature-length film
Camera Shy (2012).

Canad - Canada, 2015 / 80 / DCP / Color & B&N


Ingls - English
D, G, E, PE: Mark Sawers F: Thomas Billingsley, Christopher Charles
Kempinski DA: Theresa Konrad S: Kirby Jinnah M: Don MacDonald
P: Kaleena Kiff, Galen Fletcher CP: Radius Squared Media Group
I: Patrick Gilmore, Kristine Cofsky, Tara Pratt, Cameron McDonald,
Rekha Sharma
Contacto / Contact
Radius Squared Media Group. Kaleena Kiff
T +1 604 618 4469 E kaleena@radius-squared.com
W radius-squared.com ~ nomenbeyondthispoint.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

75

PREMIERE MUNDIAL / WORLD PREMIERE

avant-garde & genre competition

The Bodyguard
El guardaespaldas
Tras la muerte de su maestro de kung fu, Wu abandona la
ciudad y consigue trabajo como guardaespaldas de la chica
ms rica del pueblo. All debe apelar a su destreza en las artes
marciales para enfrentar a un ejrcito de villanos.

Following the death of his kung fu master, Wu leaves the


city and gets a job as a bodyguard of the richest girl in
town. He will need to use his martial arts abilities to face
an army of villains.

Protagonista, director, guionista y aventurero de cada secuencia, Yue Song est en llamas de principio a fin. Esta es una
pelcula de superaccin, una pelcula de kung-fu en modo iridiscente que autoriza a llamar a su creador delante y detrs de
cmaras como el nuevo Jackie Chan (antes de que sea tarde:
qudense a ver los crditos). Una pelcula empapada de cinefilia, que procesa sus influencias Titanic, James Bond, Kill Bill
y el melodrama ms superficial e hiperblico a velocidad demencial pero sin perder claridad, que se re de cada convencin
ponindola a volumen 11 (la secuencia pardica de la playa
convierte a la de La pistola desnuda en una de Claude Sautet), y
que exhibe devocin por el movimiento. Ojos y almas acostumbrados a la accin en el cine, estn a punto de experimentar un
nuevo comienzo. Javier Porta Fouz

Protagonist, director, screenwriter and adventurer of every sequence, Yue Song is on fire from beginning to end. This is an
all-out action movie, a kung-fu movie in iridescent mode that
authorizes one to call its creator in front of and behind the
cameras the new Jackie Chan (before its too late: stay for the
end credits). A film steeped in cinephilia that processes its influences Titanic, James Bond, Kill Bill and melodrama at the most
superficial and hyperbolic at a demented pace but without ever
losing clarity, that laughs at every convention by turning it up to
11 (the parody sequence at the beach turns The Naked Gun into
a film by Claude Sautet), and displays a devotion for movement.
Eyes and souls accustomed to action at the movies are about to
experience a new beginning. JPF

Yue Song

China / Hong Kong, 2016 / 90 / DCP / Color / Mandarn

Es luchador de artes marciales. Debut como director con King of the


Streets (2012).
He is a martial artist. He made his directorial debut with King of the
Streets (2012).

D, G, P: Yue Song PE: Yue Song, Patricia Kong CP: Pan-Asia Visual
Art Media, Yue Song Film and Television, Hai Run Film and Television,
Malaysia SKT Song Jiang Media, Sheng Pin International Film and
Television, Chang Long Film and Television I: Yue Song, Yu Xing,
Collin Chu, Chan Man-wai
Contacto / Contact
All Rights Entertainment. Pearl Chan
T +852 2388 6007
E pc@allrightsentertainment.com
W allrightsentertainment.com

76

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia vanguardia y gnero

Alice in Earnestland
Seong-sil-han na-la-ui Ael-li-seu
Alicia en el Pas de la Honestidad
En esta pelcula de accin, Soo-nam lucha para pagar las facturas de su marido en estado vegetativo. Pero, a pesar de su gran
esfuerzo, el marido parece condenado a no despertar nunca.

In this action film Soo-nam struggles to pay the bills of his


husband, whos in a vegetative state. But in spite of her great
effort, the husband seems doomed to never wake up again.

Herona de la desgracia, Soo-nam persigue fines pequeos


con caudal de sangre a montones. Forzada por la vida, a esa
desproporcin le suceden sus pases mgicos dejando incendios intencionales, amputaciones y muertes de diversa ndole
en el camino, mientras Soo-nam procura no perder lo poco
que tiene incluido su marido en estado vegetativo. Comedia
negra de velocidad frentica y electricidad en partes iguales,
Alice in Earnestland es un viaje sin freno por las formas de
matar ms dismiles, incluyendo una venganza llevada adelante con paciencia de santa. Porque, por ms que ella se
esfuerce intentando la bondad y el sacrificio en sus formas
ms puras, las cosas se le dan tan difciles como fciles le
resultan sus golpes mortales, en una especie de arte marcial
contra el mundo en su cara ms disparatadamente injusta.
Magdalena Arau

A heroine of disgrace, Soo-nam pursues small goals with huge


amounts of bloodshed. Life forced her to that unbalanced situation with magic tricks that include intentional fires, amputations,
and all kinds of deaths on the way, as she tries to keep what
little she has including her husband in vegetative state. A black
comedy with equal amounts of frenzied speed and electricity,
Alice in Earnestland is a non-stop journey through extremely
different ways of killing, including a revenge that is carried on
with a holy patience. Because even if she tries hard to be kind
and sacrifice herself for others in the purest ways, things are too
hard for her, except for the terribly easy ways she finds to spread
her mortal punches, in a sort of martial art against the craziest
and more unfair side of the world. MA

Ahn Gooc-jin
Naci en Sel en 1980. Despus de graduarse del Departamento de
Teatro y Cine en la Universidad de Kyung Hee, estudi direccin en la
Academia Coreana de Artes Cinematogrficas. Realiz los cortos Stop By
My House (2008) y Double Clutch (2010).
He was born in Seoul in 1980. After graduating from the Department of
Theater and Film of the University of Kyung Hee, he studied filmmaking at
the Korean Academy of Film Arts. He made the shorts Stop By My House
(2008) and Double Clutch (2010).

Corea del Sur - South Korea, 2015 / 87 / DCP / Color


Coreano - Korean
D, G: Ahn Gooc-jin F: Lee Seok-jun E: Ahn Gooc-jin, Kim Woo-il
S: Hwang Yu-jin M: Jang Young-gyu P: Lee Ji-seung, Park Chan-ok
PE: Yu Young-sik, Choe Equan CP: Kafa Films
I: Lee Jun-hyun, Lee Jeong Hyun, Seo Young-hwa
Contacto / Contact
CJ Entertainment. Hawon Kim
T +82 2371 8470
E hawon.kim@cj.net
W lineup.cjenm.com/films ~ kafa.ac

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

77

PREMIERE AMERICANA / AMERICAN PREMIERE

avant-garde & genre competition

Esa sensacin
That Feeling
Un virus que hace decir y hacer cosas a la gente. Una cadena
contagiosa de torpeza, una mujer que se relaciona patolgicamente con objetos de la ciudad y un hombre que espa a su
padre por las calles: tres divertidas historias sobre el amor, la
fe y la voluntad.

A virus that makes infected people say and do things. A


contagious chain of clumsiness, a woman who relates in a
pathological way to objects in the city, and a man who spies
on his father on the streets: three funny stories about love,
faith, and will.

Si hay algo que une el cine de Juan Cavestany, Julin Gnisson


y Pablo Hernando es su querencia por levantar las ciudades
que muestran en sus films a partir de espacios despoblados,
semi desrticos, lugares donde siempre parece que hubo un
proyecto de construir algo y ese algo se dej a medias: reas de
servicio, descampados, chatarreras, glorietas, el mundo, ms
all de sus propios conflictos ntimos, no parecera existir en
torno los personajes de Gente en sitios, Berserker o La tumba
de Bruce Lee. Ahora, estos tres magos del vitriolo ibrico se
renen en un film colectivo (que no episdico) donde se ratifica
que el retrato ms realista de la realidad espaola, desde hace
dcadas ya, es el que pasa por el barniz del extraamiento,
el ngulo imposible y el sonido de un acfeno atravesando la
pantalla. Fran Gayo

If theres one element that connects the cinema of Juan Cavestany, Julin Gnisson, and Pablo Hernando that is their fondness
with lifting up the cities they depict in their films through unpopulated, semi-deserted spaces, places where theres always
an unfinished project to build something. Service areas, wastelands, junk yards, roundabouts, and the world beyond its own
intimate conflicts didnt seem to exist around the characters
in People in Places, Berserker or La tumba de Bruce Lee. Now,
these three wizards of Iberian vitriol gather in a collective yet
not episodic film, which confirms that for decades now the
most realistic portrait of Spanish reality is that one featuring
an alienating feel, impossible angles, and the sound of tinnitus
across the screen. FG

los Directores / The Directors


Juan Cavestany: Naci en Madrid en 1957. Dirigi varios cortos y
largometrajes, como Gente en sitios (2013; Bafici 14). Julin Gnisson: Naci en Madrid en 1982. Es guionista y director de La tumba de
Bruce Lee (2013). Pablo Hernando: Naci en Vitoria-Gasteiz en 1986.
Dirigi varios cortos y los largometrajes Cabs (2012) y Berseker (2015).
Juan Cavestany: He was born in Madrid in 1957. He directed several
short and feature-length films, including Gente en sitios (2013; Bafici
14). Julin Gnisson: He was born in Madrid in 1982. He wrote and
directed La tumba de Bruce Lee (2013). Pablo Hernando: He was
born in Vitoria-Gasteiz in 1986. He directed several short films, and the
feature-length films Cabs (2012) and Berseker (2015).
78

Espaa - Spain, 2016 / 80 / DCP / Color


Espaol - Spanish
D, G, F: Juan Cavestany, Julin Gnisson, Pablo Hernando
E: Ral de Torres S: Juan Luis Cordero M: Aaron Rux
P: Juan Cavestany PE: Juan Cavestany I: Lorena Iglesias,
Vito Sanz, Jorge Suquet
Contacto / Contact
Juan Cavestany
T +34 661 815 396
E juancavestany@gmail.com
W facebook.com/Esa-Sensacin

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia vanguardia y gnero

Bone Tomahawk
Tomahawk de hueso
Un superelenco formado por Kurt Russell, Patrick Wilson,
Matthew Fox y Richard Jenkins se adentra en el Salvaje Oeste
para rescatar a un grupo de personas que se encuentran cautivas dentro de unas cuevas canbales.

A super-cast featuring Kurt Russell, Patrick Wilson, Matthew


Fox and Richard Jenkins gets into the Wild West to rescue a
group of people captive in some cannibal caves.

Esta pera prima de Zahler tiene varios puntos de contacto


con Los ocho ms odiados, de Quentin Tarantino. Ambos son
westerns protagonizados por Kurt Russell y gran elenco, ambos
combinan elementos clsicos del gnero con otros ms propios
de pelcula de terror (con alta cantidad de gore incluido), ninguno es polticamente correcto y ambos beben del western clase B
ms que de los grandes clsicos del gnero. Pero la primera pelcula de Zahler es mucho mejor que la de Q. T.: genera mucha
ms tensin con unos villanos temibles, todos los personajes
estn muy bien desarrollados (y en mucho menos tiempo) y
respetan los silencios y misterios propios de los que habitan el
cine de cowboys. Brutal, intensa y extraa, Bone Tomahawk es
un combo western-horror de los que se ven poco. Diego Lerer

Zahlers first feature has a lot in common with Quentin Tarantinos The Hateful Eight. They are both westerns starring Kurt
Russell and other greats, they both combine classic elements
from the genre with others that have more to do with horror
films (including gore in large amounts), none of them is politically correct and both of them are more influenced by B-grade
westerns than the great classics of the genre. But Zahlers film
is much better than Q.T.s: it gathers a lot more tension with
some fearsome villains, all the characters are well-developed
(and in much less time) and respect the silences and mysteries
of those who inhabit cowboy films. Brutal, intense and strange,
Bone Tomahawk is quite a unique horror-western combo. DL

S. Craig Zahler
Naci en Miami en 1973. Es novelista, guionista, msico, cineasta y
director de fotografa.
He was born in Miami in 1973. Hes a novelist, scriptwriter, musician,
filmmaker and cinematographer.

Estados Unidos - US, 2015 / 133 / DCP / Color / Ingls - English


D, G: S. Craig Zahler F: Benji Bakshi E: Greg DAuria, Fred Raskin
DA: Freddy Waff S: Roland Vajs M: Jeff Herriott, S. Craig Zahler
P: Dallas Sonnier, Jack Heller, Wayne Marc Godfrey, Robert Jones,
David Gilbery PE: R. Scott Fort, David Gilbery, Wayne Marc Godfrey,
Robert James, Hengameh Panahi, Peter Sherayko, Jon D. Wagner
CP: Caliber Media Company I: Kurt Russell, Patrick Wilson, Matthew Fox,
Richard Jenkins, Lili Simmons
Contacto / Contact
Pascale Ramonda
T +33 662 013 241 E pascale@pascaleramonda.com
W pascaleramonda.com ~ facebook.com/bonetomahawkmovie

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

79

PREMIERE LATINOAMERICANA / LATAM PREMIERE

avant-garde & genre competition

Solitary Acts
Actos solitarios
Serie de tres pelculas que siguen impdicamente a una mujer
desde su niez hasta sus aos de adolescencia en los que
explora su sexualidad.

Three films that are part of a series that shamelessly follows


a woman from her childhood though her teenage years, while
she explores her sexuality.

Estos actos solitarios se ejecutan contra toda esperanza, pero


sobre todo contra todo intento de vulnerar eso que, con las prevenciones del caso, podemos llamar autonoma. Una mujer se
masturba, besa su reflejo en el espejo, o masturba a un compaero. Las imgenes muestran manos y genitales en primer
plano debajo de un rayado discontinuo y una irrupcin parpadeante de carteles, frases enunciadas por una voz en off que no
rehye del relato en primera persona ni de la responsabilidad
plena de lo exhibido. Los detalles autobiogrficos, la insularidad
del acto en pie de guerra con las prevenciones paternas o la
indagacin radical acerca de los lmites de la propia intimidad
permiten apreciar a una cineasta que concibe cada plano como
una forma que siente, recuerda y se comenta a s misma, sin
perder nunca la capacidad de reflexionar. David Obarrio

These solitary acts are done against all hope, but mostly against
any attempt at damaging something we could cautiously call
autonomy. A woman masturbates, kisses her own reflection on
a mirror, or masturbates a partner. The images show close-ups
of hands and genitals under some discontinued scratching and
a flickering irruption of signs with phrases spoken by a voice
over that doesnt avoid the first person narration or its full responsibility for the things we are watching. The autobiographical
details, the insular nature of the act fully confronting parental
precautions and a radical inquiry into the limits of intimacy
allow us to appreciate a filmmaker who thinks of every shot as
a form that is able to feel, remember, and comment on itself
without ever losing its ability for reflection. DO

Nazl Dinel
Naci en Ankara, Turqua, en 1989. Obtuvo una licenciatura y un mster
de la Universidad de Wisconsin, Milwaukee. Actualmente vive en Ann
Arbor, Michigan.
She was born in Ankara, Turkey, in 1989. She has a bachelors and a
masters degree at the University of Wisconsin, Milwaukee. She currently
lives in Ann Arbor, Michigan.

80

Estados Unidos / Turqua - US / Turkey, 2016 / 25 / 16mm /


Color / Ingls - English
D: Nazli Dinel
Contacto / Contact
Nazli Dinel
T +1 415 265 5802
E nazlidincel@yahoo.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia vanguardia y gnero

Something Between Us
Algo entre nosotros
La cineasta experimental ha creado un estudio del movimiento; una coreografa de luz y fantasa que no posee ni
un solo fotograma animado, y en el que arcoris y diamantes
llenan la pantalla.

The experimental filmmaker has created a study in movement; a choreography of light and fantasy that doesnt have
a single animated frame, and in which the rainbow and diamonds fill the screen.

Una de las grandes pelculas de Stan Brakhage, The Text of


Light, es una investigacin en torno a los efectos generados
a partir de proyectar la luz a travs de un cenicero de cristal.
Es una de sus mejores pelculas, pero posiblemente tambin
una de las ms bellas. Ese parece ser tambin el objetivo
de Jodie Mack con Something Between Us: buscar lo bello
a travs de la luz. Mack se sirve en su caso de joyas, de
piedras preciosas y tambin del agua para extraer reflejos
lumnicos. De repente, se inicia un tintineo y esos reflejos
comienzan su peculiar baile, una sinfona de luces, un ballet
psicodlico que recuerda poderosamente los experimentos
previos de Mack con el 3D. Jaime Pena

One of Stan Brakhages great films, The Text of Light, is an investigation on the effects generated by projecting light through
a crystal ashtray. Its one of his best films, but perhaps also
one of his most beautiful. This also seems to be Jodie Macks
goal in Something Between Us: to search for beauty through
light. In her case, Mack makes use of jewelry, precious gemstones and also water to extract light reflections. Suddenly,
some tinkling starts, and those reflections its peculiar dance,
a symphony of light, a psychedelic ballet that powerfully brings
to mind Macks previous experiments with 3D. JP

Jodie Mack

Estados Unidos - US, 2015 / 10 / 16mm / Color

Naci en Londres en 1983. Obtuvo un mster en Cine, Video y Nuevos


Medios de la Escuela del Instituto de Arte de Chicago en 2007, y actualmente ensea animacin en el Dartmouth College. Dirigi varios cortos
en 16mm, que fueron exhibidos en Bafici 15.
She was born in London in 1983. She got a Masters in Film, Video and
New Media from the School of the Art Institute of Chicago in 2007, and
currently teaches animation at Dartmouth College. She directed many
16mm shorts that were shown at Bafici 15.

D, G, F, E, DA, S, M, P, PE: Jodie Mack


Contacto / Contact
Dartmouth College. Jodie Mack
T +1 773 595 2312
E jodienmack@gmail.com
W jodiemack.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

81

PREMIERE AMERICANA / AMERICAN PREMIERE

avant-garde & genre competition

Malgr la nuit
Despite the Night
A pesar de la noche
Lens regresa a Pars para encontrar a su nico y verdadero
amor, Madeleine. A medida que la bsqueda de ella contina,
conoce a una enfermera con la que comienza una historia de
amor marcada por los celos y la autodestruccin.

Lens returns to Paris to find his only true love, Madeleine. As


his search continues, he meets a nurse with whom he starts a
love story marked by jealousy and self-destruction.

Cineasta de la intensidad, de los cuerpos y de las sombras,


Grandrieux extrema aqu las caractersticas de su estilo expresionista, cuyo centro es la imposibilidad de separar el deseo
de la muerte, la violencia y el dinero. La profusin de escenas
sexuales conecta una trama que se parece a un tren fantasma
impulsado por el amor entendido como una pasin incompleta,
a menos que est abierto a las pulsiones ms oscuras, ms
aberrantes, ms abyectas. Malgr la nuit es el recorrido por
un infierno subterrneo de traiciones y manipulaciones al que
acceden sus personajes hurfanos, carentes de toda contencin que no sea la necesidad de llegar al lmite. Bon voyage.
Jons Zabala

A filmmaker of intensity, of bodies and of shadows, Grandieux


maximizes here the characteristics of his expressionist style,
which centers on the impossibility of separating desire from
death, violence and money. The abundance of sexual scenes
connects a plot that resembles a ghost train driven by love understood as a passion thats incomplete, unless its open to the
darkest, most unusual and abject impulses. Malgr la nuit is the
journey through an underground hell of betrayal and manipulation by its orphan characters, who lack any kind of stability and
are always on the edge. Bon voyage. JZ

Philippe Grandrieux
Naci en Francia en 1954. Estudi cine en el Instituto Nacional Superior
de Artes del Espectculo en Bruselas y realiz su primera videoinstalacin en 1976. Dirigi varios films, entre ellos La vie nouvelle (2002;
Bafici 03) y Il se peut que la beaut ait renforc notre rsolution - Masao
Adachi (2011; Bafici 14).
He was born in France in 1954. He studied film at Brussels Institut
National Suprieur des Arts du Spectacle and made his first video installation in 1976. He has directed many films, including A New Life (2002;
Bafici 03) and The Beauty May Have Strengthened Our Resoluteness
- Masao Adachi (2011; Bafici 14).

82

Francia - France, 2016 / 155 / DCP / Color


Francs / Ingls - French / English
D: Philippe Grandrieux P: Catherine Jaques CP: Lopsem
I: Arianne Labed, Roxane Mesquida, Kristian Marr, Paul Hamy
Contacto / Contact
Films Boutique. Josephine Settmacher
T +49 30 6953 7850
E josephine@filmsboutique.com
W filmsboutique.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

fuera de competencia - out of competition

competencia vanguardia y gnero

A Dragon Arrives!
Ejhdeha Vared Mishavad!
Llega un dragn!
Un detective, un gelogo y un ingeniero de sonido investigan a
un preso poltico que se ahorc en un barco abandonado en el
medio del desierto iran.

A detective, a geologist and a sound engineer investigate the


case of a political prisoner that committed suicide by hanging
himself in an abandoned ship in the middle of the Iranian desert.

Cuenta la leyenda que, durante el rodaje de The Brick and the


Mirror (exhibida en este Bafici), el sonidista desapareci de
un momento a otro. Segn parece, literalmente, se lo trag la
tierra. Se establecen dos hiptesis posibles: la accin de los
servicios secretos de inteligencia, o bien el cumplimiento de un
maleficio anunciado, pues si a los muertos no se les da debida
sepultura extraas fuerzas subterrneas se activan. Como en
un viaje por los infiernos, el desierto abre sus fauces, y lo que
en principio adquiere la apariencia de un thriller sobrenatural
deviene en documental, en noir, muta en varios pasajes musicales y, reptando como animal en la arena, desliza guios de
comedia disparatada y peripecias como en la ms clsica de
las aventuras. Porque en esta pelcula se engullen todos los
gneros posibles, unos a otros, con la misma fuerza con que la
tierra se quiebra. Magdalena Arau

According to the legend, a sound technician suddenly disappeared during the shooting of The Brick and the Mirror
(screened at this edition of Bafici). Apparently, he was literally
swallowed by the earth. Two different hypotheses: it was either
the intelligence services, or rather the fulfillment of an announced curse, because when you dont provide a proper burial
to the dead, strange underground forces emerge. The desert
opens its mouth like in a journey through hell, and what at first
seems to be a supernatural thriller becomes a documentary, a
film noir, and mutates into several musical scenes. Crawling line
a sand animal, the film also hints at crazy humor and the kind
of events from classic adventure movies. Because in this film
every possible genre swallows the other, with the same force
that breaks the Earth open. MA

Mani Haghighi

Irn - Iran, 2016 / 108 / DCP / Color / Persa - Farsi

Naci en Tehern, Irn, en 1969. Estudi filosofa, y trabaja como actor,


guionista y realizador. Dirigi varios largometrajes, entre ellos Paziraie
Zadeh (2012), y protagoniz Melbourne (2014).
He was born in Teheran, Iran, in 1969. He studied philosophy, and works
as an actor, screenwriter and filmmaker. He directed many shorts including Paziraie Zadeh (2012), and starred in Melbourne (2014).

D, G, P: Mani Haghighi F: Houman Behmanesh E: Hayedeh Safiyari


DA: Amir Hossein Ghodsi S: Amir Hossein Ghasemi
M: Christophe Rezai PE: Mehdi Davari, Chavosh Shirani, Lili Golestan,
Taraneh Alidoosti, Alireza Bazel, Mani Haghighi I: Amir Jadidi,
Momayun Ghanizadeh, Ehsan Goudarzi, Kiana Tajammol, Nader Fallah
Contacto / Contact
The Match Factory. Sergi Steegmann
E sergi.steegmann@matchfactory.de
W the-match-factory.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

83

avant-garde & genre competition

Demon
Demonio
Inspirada en una leyenda de origen judo (el dybbuk), la aterradora Demon narra la historia de un joven que visita la ciudad natal de su futura esposa. Como regalo de bodas, reciben un terreno para construir su casa, pero desconocen que, debajo de los
cimientos de su nueva propiedad, se ocultan restos humanos.

Inspired by a Jewish legend (the dybbuk), the terrifying Demon


tells the story of a man who visits his future wifes hometown.
As a wedding gift, they receive a piece of land so they can
build their own house, but they are not aware that human remains rest beneath the foundations of their new property.

Como lo demostraba el ltimo y mejor episodio de Relatos salvajes, las bodas pueden ser asediadas por demonios diversos;
en el caso de esta pelcula ominosa, de forma bastante literal.
Un casamiento en el campo, los novios, la familia, los invitados, borracheras, sexo, comida, gritos eufricos y el crculo
recomienza. Y la aparicin de la amenaza atvica, del peligro,
del miedo. Marcin Wrona dispone la que fue su ltima pelcula
como el relato de un asedio inasible pero a la vez concreto,
peligroso, progresivamente desesperante. El terror y la posesin
como posibilidad, luego como probabilidad y despus como
presencia. El hecho de que Wrona logre este relato sugestivo,
poco amigable, casi agresivo en su malevolencia, sin apelar a
grandes artificios ni golpes arteros nos habla de un director que
tena mucho por darle al cine. Javier Porta Fouz

As we saw in the last and finest episode of Wild Tales, weddings


can be haunted by different demons and in this ominous film,
it happens in a quite literal way. A wedding celebration in the
countryside, the bride and groom, the family, the guests, drunkenness, sex, food, euphoric shouting, and the circle starts all
over again and an atavistic threat of danger and fear emerges.
Marcin Wrona sets out his last film as the depiction of an unfathomable siege that is yet concrete, dangerous, and progressively distressing. Horror and possession stand as a possibility, then as a probability, and then as an actual presence. The
fact that Wrona delivered this suggestive, unfriendly story that
is almost aggressively evil, without using much artifice or low
blows, speaks of a filmmaker who had a lot to contribute to
cinema. JPF

Marcin Wrona

Polonia / Israel - Poland / Israel, 2015 / 94 / DCP / Color


Polaco / Ingls / Yiddish - Polish / English / Yiddish

Naci en Tarnw, Polonia, en 1973 y falleci en 2015. Se gradu de la


Universidad Jagellnica y del Instituto de Cine Binger en msterdam.
Dirigi los largometrajes My Flesh, My Blood (2009) y The Christening
(2010). Muri en 2015.
He was born in Tarnw, Poland, in 1973 and died in 2015. He graduated
from the Jagiellonian University and the Binger Film Institute in Amsterdam. He directed My Flesh, My Blood (2009) and The Christening (2010).
He died in 2015.

84

D, P: Marcin Wrona G: Marcin Wrona, Pawel Maslona F: Pawel Flis


E: Piotr Kmiecik DA: Anna Wunderlich S: Tomasz Sikora
M: Krzysztof Penderecki, Marcin Macuk CP: Magnet Man Film,
Transfax Film Productions I: Itay Tiran, Tomasz Schuchardt,
Andrzej Grabowski, Agnieszka ulewska
Contacto / Contact
Reel Suspects. Alberto lvarez Aguilera
T +33 6 9549 6563 E a@reelsuspects.com
W reelsuspects.com ~ magnetmanfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE


Foto / Photo: Robert Palka

competencia vanguardia y gnero

The Lure
Corki dancingu
El seuelo
Dos sirenas se unen a una banda de msicos relacionados con
el mundo del baile de Varsovia de unos aos ochenta de fantasa. Msica estridente, luces de nen y brillantes lentejuelas.

Two mermaids join a band of musicians linked to the world


of dance in 80s Warsaw. Strident music, neon lights and
sparkling sequin.

Silver y Gold son dueas de una belleza sobrenatural. Literalmente sobrenatural: son sirenas; ejemplares nicos, peligrosamente angelicales, de la mtica especie de las mujeres-pez,
que emergen del ro Vstula como salidas del tenebroso cuento
de hadas que anticipan los hipnticos crditos iniciales. Y que
enseguida llevan su lozana hasta ese lugar perdido en el espacio-tiempo que es la escena nocturna, pop y un poco punk de
Varsovia en los aos ochenta; un lugar de liberacin sensorial y
emocional en los ltimos tramos de la era sovitica. Echadas a
andar en un mundo de hombres horribles, las chicas no tardarn en revelar su naturaleza depredadora, dando forma a esta
suerte de reversin lisrgica, bailable y sedienta de sangre de
La sirenita de Andersen, con un poder de encantamiento tal
que nadie ni de un lado ni del otro de la pantalla va a quedar
a salvo. Mariano Kairuz

Silver and Gold have a supernatural beauty. Its literally supernatural: they are mermaids; unique and dangerously angelical
specimens of the mythical fish-women species, who emerge
from the Vstula river as if coming from the spooky fairy tale that
precedes the hypnotic opening credits. And they quickly take
their vigor to a lost place in space-time: the pop and slightly
punk night-scene of 80s Warsaw, a place of sensorial and
emotional liberation during the last years of the Soviet era. Living in a world of horrible men, the girls will soon reveal their
predatory nature, and shape this sort of lysergic, danceable,
and bloodthirsty revisiting of Andersens The Little Mermaid,
with such a charming power that no one on both ends of the
screen will be safe. MK

Agnieszka Smoczynska

Polonia - Poland, 2015 / 92 / DCP / Color / Polaco - Polish

Naci en Breslavia, Polonia, en 1978. Estudi radio y televisin en la


Universidad de Krzysztof Kieslowski.
She was born in Wroclaw, Poland, in 1978. She studied radio and television at the Krzysztof Kieslowski University.

D: Agnieszka Smoczynska G: Robert Bolesto F: Kuba Kijowski


E: Jaroslaw Kaminski DA: Joanna Macha S: Maria Chilarecka,
Marcin Lenarczyk M: Barbara Wronska, Zuzanna Wronska
P: Wlodzimierz Niderhaus PE: Wlodzimierz Niderhaus CP: WFDiF
Contacto / Contact
WFDiF. Marika Cieslik
T +48 225 593 313
E marika.cieslik@wfdif.com.pl
W wfdif.pl

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

85

avant-garde & genre competition

Cinzas e brasas
Ashes and Embers
Cenizas y brasas
En la edicin portuguesa de la novela Campo de sangue,
la escritora Dulce Mara Cardoso afirma que la belleza puede
ser un pretexto para volverse loco. El disparador es un reencuentro con los ardores de una relacin propia, sobre la que
escribi su primer libro.

In the Portuguese edition of the novel Campo de sangue,


author Dulce Mara Cardoso states that beauty can be a pr
etext for going insane. The inspiration is a reunion with an old
flame, about whom she wrote her first book.

Este cortometraje de Mozos, ciertamente un caso distinguido


de belleza y misterio, produce una extraa aleacin entre literatura y cine, no como si se tratara de dos disciplinas donde
una se ve vampirizada por la otra, sino como si fueran las caras de una misma moneda, llamadas a convivir y a repelerse
mutuamente. Como toda pelcula perteneciente a una especie
solitaria, Cinzas e brasas exhibe una arrogancia nica mientras tiembla, un poco inerme, sin ninguna seguridad de que
los pliegues de la ficcin constituyan alguna clase de garanta
de supervivencia para objetos tan raros. Memoria y fantasmas
son dos palabras que se dicen fcilmente, pero en esta pelcula singular, construida con todo el refinamiento del mundo,
parecen destinadas a constituir el fin ltimo del cine, y su afn
ms perdurable. David Obarrio

Certainly an outstanding case of beauty and mystery, this short


film by Mozos creates a strange alloy of literature and cinema,
and not in the way one discipline is a vampire for the other, but
rather as if they were the different faces of the same coin, drawn
to coexist and repel each other. As if every film belonged to a
lonely species, Ashes and Embers shows a unique arrogance
as it trembles, somewhat defenseless, with no certainty that the
folds of fiction constitute any kind of survival guarantee for such
strange objects. Memory and ghosts are two words that are
easily said, but in this singular and very refined film they seem
destined to become the ultimate goal of cinema, and its most
endurable desire. DO

Manuel Mozos
Naci en Lisboa, Portugal, en 1959. Antes de ingresar en la Escuela
Superior de Teatro y Cine, donde se especializ en montaje, estudi
historia y filosofa. Dirigi Runas (2009; Bafici 10) y Joo Bnard da
Costa - Outros amaro as coisas que eu amei (Bafici 15).
He was born in Lisbon, Portugal, in 1959. After entering the Upper School
of Theater and Film, where he specialized in editing, he studied history
and philosophy. He directed Runas (2009; Bafici 10) and Others Will
Love the Things I Have Loved (Bafici 15).

86

Portugal, 2015 / 21 / DCP / Color


Portugus / Portuguese
D: Manuel Mozos G: Lus Mrio Lopes F: Iana Ferreira
E: Manuel Mozos, Lus Nunes S: Jos Pedro Figueiredo, Mrio Dias,
Nuno Carvalho P: Joo Viana PE: Joo Viana CP: Papaveronoir Filmes
I: Isabel Ruth, Ana Ribeiro, Gustavo Sumpta
Contacto / Contact
Agencia - Portuguese Short Film Agency. Salette Ramalho
T +351 252 646 683
E agencia@curtas.pt
W curtas.pt/agencia

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia vanguardia y gnero

Maria do Mar
En una casa de campo, dos hermanos y un grupo de amigos
veinteaeros se ven sorprendidos por una inesperada presencia femenina. El joven Nicolau observa todo con la fascinacin
de un outsider y el encanto de quien vive un momento nico
e irrepetible.

Two brothers and a group of friends in their twenties are surprised by an unexpected female presence in a country house.
Young Nicolau observes everything with the fascination of an
outsider and the charm of someone who is living a unique and
unrepeatable moment.

Ese punto exacto, ese fulgor del enamoramiento de aquel verano pasado, de esa poca en que todo era presente y futuro. Ese
punto exacto lo encuentra Joo Rosas en Maria do Mar, la pelcula, y tambin en Maria do Mar, la chica, el objeto de atencin
de las miradas de los reunidos en este fin de semana en esta
casa de campo cerca de Sintra. Nicolau observa a su hermano
Simo y a sus amigos, sus rituales de ms grandes, escucha
las conversaciones, mira, absorbe ese momento fundamental
capturado en un mediometraje que se impone como uno de los
grandes relatos del coming of age del cine reciente. La grandeza de esta pelcula se cruza con su amabilidad, con su duracin
de 35 minutos, con su precisin para narrar y, sobre todo, para
describir un lugar del espacio y de la memoria emocional del
amor o, mejor dicho, del deslumbramiento. Javier Porta Fouz

That exact point, the brightness of a love affair from last summer, a time when everything was both present and future. Joo
Rosas finds that exact point in Maria do Mar, the film, and
Maria do Mar, the girl and object of attention for the eyes of
those gathered at a country house near Sintra for the weekend.
Nicolau observes his brother Simo and his friends in their big
brother rituals, he listens to their conversations, looks, absorbs
that essential moment captured by this medium length film that
stands as one of the finest coming of age stories of recent cinema. And the greatness of this film is linked with its kindness, its
35 minutes duration, its precision for storytelling and, especially,
its description of an area of loves and its emotional memory
or, better said, its bedazzlement. JPF

Joo Rosas

Portugal, 2015 / 35 / DCP / Color / Portugus - Portuguese

Naci en Lisboa, Portugal, en 1981. Se form en la Escuela de Cine de


Londres. Public tres libros de cuentos, y dirigi los cortometrajes My
Mother Is a Pianist (2006), Entrecampos (2013) y el documental Birth
of a City (2009).
He was born in Lisbon, Portugal, in 1981. He trained at the London Film
School. He published three books of short stories, and directed the short
films My Mother Is a Pianist (2006), Entrecampos (2013) and the documentary Birth of a City (2009).

D, G: Joo Rosas F: Paulo Menezes E: Lus Miguel Correia, Joo


Rosas DA: Ndia Henriques S: Tiago Matos M: Juraj Ferina, Pavle
Miholjevic P: Lus Urbano, Sandro Aguilar, Joo Matos PE: Susana
Nobre CP: O Som e a Fria, Terratreme Filmes I: Francisco Melo,
Mariana Galvo, Miguel Carmo, Andr G. Pinto, Paola Giuffrida
Contacto / Contact
Terratreme Filmes, O Som e a Fria. Pedro Peralta
T +351 212 415 754
E pedroperalta@terratreme.pt ~ liliana@curtas.pt
W terratreme.pt

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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avant-garde & genre competition

Stand By for Tape Back-Up


Esperando el backup del casete
Tras la muerte de su abuelo, el poeta Ross Sutherland toma
fragmentos de pelculas antiguas y programas de televisin y
los reconstruye, transformndolos en una meditacin audiovisual sobre la memoria y la muerte.

After the death of his grandfather, poet Ross Sutherland takes


fragments from old films and TV shows and reconstructs them,
turning them into an audiovisual meditation on memory and
death.

Los diversos soportes que hemos inventado los seres humanos


para conservar nuestros recuerdos buscan reproducir obvio el
funcionamiento de nuestra propia memoria. Quiz sea blasfemo
decir esto en un festival de cine, pero ms que el nitrato, el celuloide o el DCP, la cinta de video es (fue?) el medio que ms
cerca estuvo de lograr esa utopa, sobre todo en la instancia de
recuperacin de los recuerdos. Rebobinar, pausar, darle al FF o
al stop; encontrar superposiciones casuales, zonas desgastadas,
finales abruptos: pasa en la vida, pasa en los VHS. Sutherland
entendi como nadie la perfecta analoga analgica; primero la
convirti en show de stand-up y ahora la fij la grab en una
pelcula sabia, graciosa, potica, rapera, oscura, incierta, conmovedora: como la mismsima memoria. Agustn Masaedo

The diverse mediums us humans have invented in order to


preserve our memories seek to reproduce obviously the
functioning of our own memory. Maybe its blasphemous to say
this at a film festival, but more than nitrate, celluloid or DCP,
videotapes are (were?) the medium that got closer to fulfilling
that utopia, mainly in the instance of memory recovery. Rewinding, pausing, fast-forwarding or stopping; finding casual
superimpositions, worn-out areas, abrupt endings: it happens
in life, it happens on VHS. Sutherland understood the perfect
analog analogies better than anyone; first, he turned it into a
stand-up comedy show and has now fixed it taped it in a film
thats wise, funny, poetic, rapper-y, dark, uncertain, moving: like
memory itself. AM

Ross Sutherland

Reino Unido - UK, 2015 / 65 / DCP / Color / Ingls - English

Naci en Edimburgo en 1979. Tiene cuatro libros de poemas y es miembro del colectivo de poesa Aisle16.
He was born in Edinburgh in 1979. He has four books of poems and is a
member of the poetry collective Aisle16.

88

D, G, I: Ross Sutherland E, P: Ross Sutherland, Charlie Lyne


Contacto / Contact
Ross Sutherland
T +44 771 944 6025
E rossgsutherland@yahoo.com
W rosssutherland.co.uk ~ standbyfortapebackup.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE


Foto / Photo: Wolfgang Lehmann

competencia vanguardia y gnero

Traces of Garden
Huellas de jardn
Una relacin potica entre colores, formas y movimiento. Imgenes que incluyen agua, rboles, paisajes y una escena de
amor, donde todo se transforma y se repite y ninguna imagen
es idntica a la otra.

A poetic connection between colors, forms, and movement.


Images that feature water, trees, landscapes, and a love scene
where everything transforms and repeats itself, and no picture
is identical to another one.

Si el anterior film de Wolfgang Lehmann, el mosaico estroboscpico Drangonflies with Bird and Snake, supona un tour de
force para la retina del espectador ms aguerrido, llama la atencin el salto al tono sosegado y pictrico de Traces of Garden,
un regreso a los bosques en el que el director parece buscar
una puesta al da de los acercamientos a la naturaleza de los
primeros impresionistas. Durante 70 minutos, el nuevo film de
Lehmann nos pasea, guiados por un canto de pjaros constante
que va mutando del registro limpio a la distorsin, por un sendero de copas de rboles en descomposicin constante, haciendo
gala de una caligrafa delicada a la que incorpora nuevas figuras
retricas como el glitch y el pixelado, deformaciones digitales
de las que logra extraer un inesperado lirismo. Fran Gayo

Since Wolfgang Lehmanns previous film, the stroboscopic mosaic Drangonflies with Bird and Snake, offered a tour de force to
the retinas of brave viewers, its surprising to see this jump into
the mild and pictorial tone featured in Traces of Garden, a return
to the woods in which the director seemingly tries to update
the closeness with nature of the first impressionist painters. For
70 minutes, Lehmanns new film takes us through a path of
decomposing treetops guided by a constant tweeting of birds,
and shows off a delicate hand that calls upon new rhetorical
figures like glitch and pixels, digital deformations from which he
extracts an unexpected lyrical quality. FG

Wolfgang Lehmann
Naci en Alemania en 1967. Desde 1994 ha dirigido numerosos cortos,
como Image of Myself - Act, Study N2 (2003), Route to Cape Town
(2005), Play y Birds by the Sea (ambos de 2008), y el largometraje
Dragonflies with Birds and Snake (2011; Bafici 12).
He was born in Germany in 1967. Since 1994 he has directed several
short films, including Image of Myself - Act, Study N2 (2003), Route to
Cape Town (2005), Play and Birds by the Sea (both in 2008), and the
feature-length film Dragonflies with Birds and Snake (2011; Bafici 12).

Suecia / Alemania - Sweden / Germany, 2016


71 / DCP / Color & B&N
D, G, F, E, DA, P, PE: Wolfgang Lehmann S, M: Ralf Freudenberger
CP: Wolfgang Lehmann Film I: Amparo Tamayan, Shichiro Ozu
Contacto / Contact
Wolfgang Lehmann Film. Wolfgang Lehmann
T +46 768 948 171
E lehmann_flickerfilm@yahoo.de
W imagewolfganglehmann.de ~ imagewolfganglehmann.de

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

89

PREMIERE LATINOAMERICANA / LATAM PREMIERE

avant-garde & genre competition

The Island Funeral


Maha Samut Lae Susaan
El funeral de la isla
Una pareja de jvenes emprende un largo viaje hacia las afueras de la ciudad, pero en el camino descubren un mundo fantasmagrico y ms peligroso de lo que pensaban.

A young couple embark on a long trip to the citys outskirts, but


on their way, they discover that the world outside their car is
more dangerous than they thought.

El arte de filmar a las personas como si fueran apariciones sobrenaturales y a la naturaleza misma como una dimensin tan
ajena que resulta animada y nueva es algo que ya conocamos
en el cine tailands, gracias a pelculas como Uncle Boonmee
Who Can Recall His Past Lives, de Apichatpong Weerasethakul.
Pimpaka Towira crea un ambiente hechizado todava ms sutil
para contar el viaje de tres amigos desde la gran ciudad (apenas un recuerdo en flashes hipersaturados) hacia una isla, a
travs de un territorio en el que la situacin poltica se encarna
en militares en motocicletas, templos musulmanes, mujeres
con chador. Sabs que ac mataban gente?, seala uno
de los protagonistas frente a una mezquita abandonada, y esa
violencia, referida casi como una leyenda, se materializa en la
forma del cine de un gnero que superpone jirones de terror y
fantasmas demasiado materiales en la oscuridad casi total del
paisaje campestre. Marina Yuszczuk

The art of filming people as though they were supernatural apparitions and nature itself as a dimension so otherworldly that it
becomes animated an new is something we already knew from
Thai cinema, thanks to films like Apichatpong Weerasethakuls
Uncle Boonmee Who Can Recall His Past Lives. Pimpaka Towira
creates an even subtler haunted atmosphere in order to tell the
voyage of three friends from the big city (barely a memory in
hyper-saturated flashes) to an island, through a territory where
the political situation includes military men in motorcycles, Muslim temples, women with chador. Did you know that they used
to kill people here?, one of the protagonists points out in front
of an abandoned mesquite, and that violence, referred to almost
as a legend, materializes in the form of cinema of a genre that
superimposes bits of horror and ghosts that are too material in
the almost total darkness of the rural landscape. MY

Pimpaka Towira

Tailandia - Thailand, 2015 / 105 / DCP / Color / Tailands - Thai

Naci en Tailandia en 1967, y se form en cine en la Universidad


de Bangkok. Debut como realizadora en 2003 con el largometraje
Husband.
She was born in Thailand in 1967, and trained at the University
of Bangkok. She made her debut as a filmmaker in 2003 with the
feature Husband.

D: Pimpaka Towira G: Kong Rithdee, Pimpaka Towira


F: Phuttiphong Aroonpheng E: Harin Paesongthai, Benjarat Choonuan,
Uruphong Raksasad DA: Vikrom Janpanus S: Akritchalerm Kalayanamitr
P: Pimpaka Towira, Chatchai Chaiyon PE: Pimpaka Towira
CP: Extra Virgin I: Heen Sasithorn, Aukrit Pornsumpunsuk,
Yossawat Sittiwong, Pattanapong Sriboonrueang, Wanlop Rungkamjad
Contacto / Contact
Mosquito Films Distribution. Donsaron Kovitvanitcha
T +66 837 101 238 E donsaron@mosquitofilmsdistribution.com
W mosquitofilmsdistribution.com ~ facebook.com/theislandfuneral

90

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia vanguardia y gnero

Le Moulin
Ri Yao Ri Shi San Buzhe
Poesa, literatura, pintura y cine convergen en este lrico ensayo flmico sobre los poetas taiwaneses que protestaron en la
dcada del treinta contra la superioridad cultural japonesa y la
dominacin del realismo en la poesa.

Poetry, literature, painting and film converge in this lyrical film


essay about the Taiwanese poets who protested against Japans cultural superiority and the predominance of realism in
poetry during the 30s.

Hay gestos elevados tan decididos como breves y condenados al fracaso. Tratar de refrenar el colonialismo japons en
el Taiwn de los aos treinta puede ser uno. Encarar esa resistencia editando una revista de poesa surrealista pasa a la
categora de gestos sublimes. En su pera prima, Huang Ya-li se
suma a otra campaa destinada al naufragio: la de incursionar
en un gnero tan condenado a la elefantiasis como el de la
reconstruccin histrica, y hacerlo con una delicadeza pareja a
los movimientos de estos jvenes poetas que rotulan, cosen y
encuadernan cada ejemplar de su revista. El resultado es una
obra nica por la que desfilan Cocteau, Teinosuke Kinugasa,
Proust o Buuel, un homenaje de belleza arrebatadora a todos
esos happy few bendecidos con el don de visualizar un caballo
que galopa sobre un tomate. Fran Gayo

Some elevated gestures are just as determined as they are brief


and doomed to failure. Trying to fight back Japanese colonialism in Taiwan, back in the 30s, could be an example of that.
And to carry on that resistance by publishing a surreal poetry
magazine transcends to the category of sublime gestures. In
her first film, Huang Ya-li joins yet another campaign destined to
shipwreck: making an incursion into a genre doomed to gigantism: the period piece; and doing it so with the same delicacy
as the movements of these young poets who label, sow, and
bind every copy of their magazine. The result is a unique film
where Cocteau, Teinosuke Kinugasa, Proust, or Buuel parade
by; a tribute to the breathtaking beauty of all those happy few
who are blessed with the gift of visualizing a horse galloping on
a tomato. FG

Huang Ya-li

Taiwn - Taiwan, 2015 / 162 / DCP / Color & B&N


Japons / Mandarn - Japanese / Mandarin

Naci en Taiwn, y debut como realizador en 2009 con su corto The


Pursuit of What Was.
He was born in Taiwan, and made his debut as a filmmaker in 2009 with
his short The Pursuit of What Was.

D, G, E: Huang Ya-li F: Hyperreality Mer, Huang Ya-li DA: Chang I-feng


S: Huang Ya-li, Yannick Dauby M: Hsieh Chieh-ting P: Huang Ya-li,
Chang Wen-Pei, Chang Ming-tho, Hvang Doin-Chi PE: Yen Hung-ya
CP: Roots Films, Punch Cinema I: Liang Chun-wen, Lee Ming-wei,
Ian Shen, Even Shen, Deven Ho
Contacto / Contact
Ablaze Image. June WU
T +886 233 221 220
E festival@ablazeimage.com W ablazeimage.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

91

PREMIERE LATINOAMERICANA / LATAM PREMIERE


Cortesa de / Courtesy of Ablaze Images Ltd

avant-garde & genre competition

The Laundryman
Qing tian jie yi hao
El lavandero
Nada es lo que parece en la lavandera de la hermosa A-Gu,
porque detrs de los lavarropas se brinda otro tipo de servicio,
en el cual las sustancias qumicas e instalaciones presentes
en el local pueden resultar muy tiles para limpiar cualquier
tipo de evidencia.

Nothing is what it seems in the laundromat of beautiful A-Gu,


because what they offer behind the washing machines is a
service in which the chemicals and equipment they have in
the store can be very useful to clean up any kind of evidence.

En el lavadero dirigido por la bella A-Gu, el verbo limpiar se usa


en casi todas sus acepciones. Pero, cuando el mejor de los asesinos a sueldo que operan tras esa pulcra fachada empresarial
empieza a ser molestado por los fantasmas de sus vctimas, se
impone una limpieza de un tipo no contemplado hasta entonces.
El servicio de valet (que tambin tiene algo de ballet) ectoplsmico est a cargo de una psquica con facilidad para la posesin, talento que terminar por desatar una guerra sucia entre el
annimo killer y A-Gu. Saltando de gnero en gnero con gracia,
velocidad y esa luz melanclica que patent Wong Kar-wai (su
Jet Tone Films es una de las productoras), la pera prima de Lee
Chung reivindica para el cine oriental una capacidad de sorpresa
que empezbamos a extraar. Agustn Masaedo

In the laundromat run by the beautiful A-Gu, the word cleaning is


used in all of its meanings. But when the finest hit man among
the many operating behind this clean business front starts to
be disturbed by the ghosts of his victims, it is time for a kind of
cleaning they havent contemplated before. A psychic woman
runs the ectoplasm valet service (with a bit of ballet in it) and
has a capacity for possessions a talent that will unleash a dirty
war between the anonymous killer and A-Gu. Jumping from one
genre to the other with grace, speed, and that melancholic glow
patented by Wong Kar-wai (his company Jet Tone Films is one of
the producers here), Lee Chungs first film vindicates Asian cinemas capacity for surprise, which we were starting to miss. AM

Lee Chung
Naci en Taiwn, y estudi cine en la Universidad de Columbia en Nueva
York. En 2009, su tesis Mochi fue proyectada en varios festivales y
premiada en su pas natal.
He was born in Taiwan, and studied filmmaking at the University of
Columbia in New York. In 2009, his thesis film Mochi was screened in
several festivals as well as awarded at home.

Taiwn - Taiwan, 2015 / 112 / DCP / Color


Mandarn / Taiwans - Mandarin / Taiwanese
D: Lee Chung G: Lee Chung, Chen Yu-hsun F: Yao Hung-i
E: Yao Hung-i, Yang Wei-hsin, Chiang Yi-ning, Shieh Meng-ju
DA: Wang Chih-Chen S: Kuo Li-chi M: Wen Tzu-chieh
P: Lee Lieh, Roger Huang CP: 1 Production Film Co.
I: Chang Hsiao-chuan, Sui Tang, Wan Qian, Yeo YannYann
Contacto / Contact
Ablaze Image Ltd.. June WU
T +886 2 3322 1220
E festival@ablazeimage.com W ablazeimage.com/the-laundryman-info

92

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia oficial latinoamericana


latin american official competition

APERTURA / OPENING
fuera de competencia - out of competition

latin american official competition

Las plantas
Plants
Florencia, de 17 aos, debe hacerse cargo de su hermano mayor que se encuentra en estado vegetativo. Intentando sobrevivir sin dinero ni nadie que cuide de ellos, la joven descubrir
el cmic Las plantas y comenzar a explorar su sexualidad a
travs de Internet.

Florencia is 17 years old, and she must take care of her brother, who is a vegetative state. Trying to survive with no money
and no one taking care of them, the young girl will discover
the comic book The Plants and start to explore her sexuality
through the Internet.

En el cmic que Florencia lee devotamente, las plantas invaden


la ciudad durante la luna llena, como si fueran fantasmas. En su
mundo, esa fantasa dibujada pareciera tambin cobrar vida. Su
casa est rodeada de un jardn que por momentos adquiere ese
poder, enrareciendo el ambiente y aportando visiones confusas.
Como sumergida en una atmsfera vegetal, Florencia debe lidiar con el tiempo que le toca vivir, en el que su entorno afectivo
languidece a la vez que sus obligaciones cubren cada vez ms
sus ratos libres. Ella se despide de la adolescencia reinventando
los modos de relacionarse con los otros, diseando aventuras
con algunos hombres, bailando con sus amigos, volviendo a
leer Las plantas como un rito para el encantamiento del mundo.
Magdalena Arau

In the comic book Florencia reads devotedly, plants invade the


city during full moon nights, as if they were ghosts. In her world,
this drawn fantasy also seems to come alive. His house is surrounded by a garden that at times gains that power and brings a
strange vibe to the environment as well as confusing visions. As
if submerged in a vegetal atmosphere, Florencia must deal with
the time she finds herself in, where the people close to her languishes at the same time her obligations progressively cover her
free time. She says goodbye to adolescence reinventing the way
she relates to others, designing adventures with men, dancing
with friends, and re-reading Plants as a ritual for casting a spell
on the world. MA

Roberto Doveris

Chile, 2015 / 90 / DM / Color / Espaol - Spanish

Trabaja como editor general de CinemaChile y dirige Nia Nio Films,


donde ha realizado ms de 30 videoclips y varios cortos. Las plantas es
su primer largometraje.
He works as a general editor at CinemaChile and runs Nia Nio Films,
through which he directed over 30 music videos and several short films.
Plants is his feature film debut.

D, G: Roberto Doveris F: Patricio Alfaro E: Roberto Doveris,


Pilar Rodrguez DA: Natalia Mardones, Antonia Garretn
S: Diego Aguillar M: Violeta Castillo, Ignacio Redard
P: Roco Romero, Roberto Doveris PE: Roco Romero
CP: Nia Nio Films, Mimbre Producciones I: Violeta Castillo,
Ingrid Isensee, Mauricio Vaca, Ernesto Melndez
Contacto / Contact
Patra Spanou Film Marketing & Consulting. Patra Spanou
T +49 15 2019 87294
E spanoupa@yahoo.de W patraspanou.com

94

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial latinoamericana

Las calles
The Streets
En Puerto Pirmides las calles no tienen nombre. Julia, maestra de la nica escuela del lugar, desarrolla un proyecto escolar
que compromete a sus alumnos en un objetivo comn: buscar
nombres para denominar las calles.

In Puerto Pirmides, streets have no name. Julia, a teacher in


the only existing school in the area, develops a school project
that engages her students in a shared goal: look for names
for the streets.

Las calles podra pensarse como una pelcula sobre la palabra.


Sobre el hecho de contar y de nombrar, sobre los secretos y las
confesiones, y sobre el lenguaje como materia de la memoria.
En un dilogo entre generaciones, los jvenes son los responsables de elaborar la pregunta, y es la escuela el espacio que
busca pensar para ello una tcnica. A la vez son los mayores
quienes responden dando cuenta de sus historias, que no son
otra cosa que la historia del pueblo. Y as como la palabra, que
siempre es ficcin que construye realidad, la pelcula sostiene su registro en esa zona intermedia en la que la puesta en
escena ficcional procura las condiciones para que el registro
documental puro marque los tiempos y vaya al encuentro de las
personas. Magdalena Arau

Las calles could be regarded as a film about words, about


describing and naming, about secrets and confessions, and
about language as the matter of memory. In a dialogue between
generations, young people are responsible for elaborating the
question, and School is the place that tries to come up with a
technique for it. In turn, the elderly answer through their stories,
which are basically the story of the town. And like the word
which is always a fiction builds a reality, the film sustains
its tone on that intermediate area in which a fictional setting
provides the conditions for the pure documentary genre to mark
the pace and reach out to people. MA

Mara Aparicio

Argentina, 2016 / 81 / DCP / Color / Espaol - Spanish

Naci en Crdoba, Argentina, en 1992, y estudi cine y televisin en la


Universidad Nacional de Crdoba. Desde el ao 2011 integra la productora Vientosur Cine, establecida en la ciudad de Crdoba.
She was born in Crdoba, Argentina, in 1992, and studied film and television at the Cordoba National University. In 2011, she joined the production company Vientosur Cine, based in the city of Crdoba.

D: Mara Aparicio G: Mara Aparicio, Nicols Abello F: Csar Aparicio,


Santiago Sgarlatta E: Martn Sappia S: Juan Manuel Yeri,
Nicols Giecco M: Fernando Uates P: Natalia Gamarro
CP: Vientosur Cine, Blackmara I: Eva Bianco, Mara Santucho,
Gabriel Prez
Contacto / Contact
Vientosur Cine. Mara Aparicio
T +54 9 351 372 6030
E vientosurfilms@gmail.com
W lascallespelicula.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

95

latin american official competition

Romntico italiano
Italian Romantic
Salgado sigue a Camila Toker durante el Festival de Mar del
Plata. Mientras ella habla por telfono, la cmara filma la rambla y colecciona escenas marplatenses que culminan en un
ralenti mientras suena una cancin romntica italiana.

Salgado follows Camila Toker during the Mar del Plata Film
Festival. While she talks on the phone, the camera captures the
boardwalk and collects Mar del Plata scenes that culminate in
a slow motion piece, while we hear an Italian romantic song.

Aquello que vemos y que se escamotea, los sonidos, murmullos


y msica de una ciudad, el seductor andar de una mujer la
bella Camila Toker, el deseo silencioso de un hombre que filma
y persigue, los tpicos habitantes de la ciudad costera y, su contraparte, los turistas son las lneas que atraviesan Romntico
italiano. Cine dentro del cine como una mueca rusa infinita.
Filmada en el contexto del ltimo Festival de Mar del Plata, la
pelcula exhibe desde los primeros planos de la mujer en una
entrevista fantasmagrica hasta sus devaneos amorosos mientras recorre la ciudad y a la vez relata sus experiencias. Un gran
compilado de aquello que motoriza la experiencia de ver, hacer
y sentir el cine desde adentro y desde afuera, como protagonistas, directores o espectadores. Marcela Gamberini

Some of the lines that run across Italian Romantic are the
things we see and are whisked away, sounds, the murmurs
and music of a city, the seductive walk of a woman the
beautiful Camila Toker, the silent desire of a man filming and
chasing, the local people of a beach resort and their counterpart, the tourists. Cinema within cinema, like an endless
Russian doll. Shot during the last Mar del Plata Film Fest, the
films images range from close-ups of the woman giving a
ghostly interview to her love flings as she goes through the
city sharing her experiences. A great compilation of the things
driven by the experience of watching, making, and feeling
films, either from inside or outside of it, as protagonists, directors, or spectators. MG

Adriano Salgado
Naci en Buenos Aires en 1971. Estudi cine en la FUC y particip en
varios cortos como sonidista. Debut como director con La utilidad de un
revistero (2013), que obtuvo el premio a mejor pelcula argentina en el
Festival de Mar del Plata.
He was born in Buenos Aires in 1971. He studied film at the FUC and
participated in several short films as a sound engineer. He debuted as
director with La utilidad de un revistero (2013), which won the Best
Argentine Film award at the Mar del Plata Film Festival.

96

Argentina, 2016 / 65 / DM / Color


Espaol - Spanish
D, G, F, E, DA, S, P, PE: Adriano Salgado
CP: Sociedad Mostrenca I: Camila Toker
Contacto / Contact
Sociedad Mostrenca. Adriano Salgado
T +54 11 5936 3858
E verde_mamboreta@hotmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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competencia oficial latinoamericana

La ltima Navidad de Julius


Juliuss Last Christmas
El cineasta Edmundo Bejarano captura un momento en la vida
del poeta Julio Barriga, un personaje entraable al que se
aproxima ingresando a su casa y dejando que el propio autor
lea sus poemas y relate su amor por Amy Winehouse.

Filmmaker Edmundo Bejarano captures a moment in the life


of poet Julio Barriga, a charming character he approaches by
entering his house and letting the author himself read him his
poems and tell him about his love for Amy Winehouse.

El trotamundos Bejarano ya practic el retrato de poetas con


Washington Cucurto y Fabin Casas, pero tuvo que volver a su
terruo para encontrar un bardo a la altura de su punkitud. Pisando los 60, Julio Barriga es el Iggy Pop bigotn de Tarija. En
ese escenario de calles polvorientas y patios vacos, escribe
cartas urgentes a s mismo y practica el ejercicio de la soledad
que hered del fallecido gran poeta Roberto Echaz, su hroe
del silencio. Esas cartas con versos tan autnticos y autoflagelantes como Ya ests teniendo mucho rock & roll / con la
misma camisa no son lo nico que escribe: Julius (el frgil, el
impredecible, el conmovedor) est en trance de convertirse en
El hombre que amaba a Amy Winehouse. Conocerlo es quererlo,
o algo as. Agustn Masaedo

Globetrotter Bejarno had already practiced the portrayal of poets with Washington Cucurto and Fabin Casas, but he had to
return to his hometown in order to find a bard as punk as he
is. About to turn 60, Julio Barriga is Tarijas mustachioed Iggy
Pop. In that scenery of dirt roads and empty patios, he writes
urgent letters to himself and practices the exercise of solitude
he inherited from the late great poet Roberto Echaz, his hero
in silence. These letters with verses as authentic and selfpunishing as Youre having lots of rock & roll / Wearing the
same shirt are not the only things he writes: Julius (the fragile
one, the unpredictable one, the poignant one) is about to become The Man Who Loved Amy Winehouse. To know him is to
love him, or something like that. AM

Edmundo Bejarano

Bolivia, 2015 / 48 / DM / Color / Espaol - Spanish

Naci en Tarija en 1978, y estudi literatura y cine en Berln, donde vive


desde hace 15 aos. Dirigi varios cortos, entre los que se destaca Los
lemmings contraatacan (2014), exhibido en el 28 y 29 Festival Internacional de Mar del Plata.
He was born in Tarija in 1978 and studied literature and film in Berlin,
where he has been living for the past 15 years. He directed many shorts
including Los lemmings contraatacan (2014), shown at the 28th and 29th
editions of the Mar del Plata International Film Festival.

D, G, F, E, P: Edmundo Bejarano DA: Santiago Barrionuevo S: La Sonola


PE: Juan Rux CP: Tuntun Productions, Laptra, Festn Mutante
I: Julio Barriga, Fernando Barrientos
Contacto / Contact
Tuntun Productions. Edmundo Bejarano
T +49 179 779 1485
E edante25@yahoo.com
W www.facebook.com/Tuntuneando ~ laultimanavidaddejulius.de

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

97

latin american official competition

Carregador 1118
Loader 1118
Mientras se separa de su esposa, Tony debe seguir con su pesada rutina de cargar camiones en el Ceagesp, el mayor almacn de Latinoamrica. Su cuerpo exhausto carga los recuerdos
y el dolor de un amor perdido.

While splitting from his wife, Tony must follow his heavy routine of loading trucks at the Ceagesp, the largest warehouse in
Latin America. His exhausted body carries the memories and
sorrow of a lost love.

Tony tiene el cuerpo marcado. Sus piernas estn algo chuecas; sus pies, bastante ampollados; su torso, como inclinado
hacia adelante. Camina, mira, da vueltas. Estn llegando los
otros. Ya alguien entr, y ahora se para cerca de l, tambin a
dar vueltas. Ambos eligen su herramienta de trabajo, que se
renueva cada da hacia el final de la jornada, cuando sus ojos
ya acompaan el estado de sus pies. Tony est agotado; sin
embargo, despus de baarse, todos los das de alguna forma
festeja. Este documental lo retrata y lo describe enfiestado.
Entonces, en el da a da de lo transportado, de los transportistas y de los transportadores, Consonni y Marques descubren
un personaje que convierte esta pelcula en testimonio de lo
atractivamente abrumadora que puede ser la inagotable traslacin urbana. Josefina Garca Pulls

Tonys body is marked. His legs are a bit crooked; his feet are
pretty blistered; his torso is kind of tilted forward. He walks, observes, and wanders around. The others are coming. Someone
is already in, and now stands next to him, also wandering. They
both pick their work tools, which gets renewed everyday when
work is over and their eyes match the state of their feet. Tony is
exhausted; yet he somehow celebrated everyday after showering. This documentary portrays him and describes this celebrating version of him. In the everyday life of transported goods,
transport workers, and transporters, Consonni and Marques
discover a character who turns this film into a testimony of how
enticingly overwhelming urban transport can be. JGP

Eduardo Consonni
Naci en Brasil en 1978. Es uno de los miembros y fundadores del PI,
un colectivo de arte que colabora con diferentes movimientos sociales.
He was born in Brazil in 1978. He is one of the founding members of the
PI, an art collective that collaborates with different social movements.

Rodrigo T. Marques
Naci en Brasil en 1979. Trabaj como productor de comerciales y, en
2005, empez a dirigir y editar documentales.
He was born in Brazil in 1979. He worked as a producer of commercials,
and in 2005, he started directing and editing documentaries.

98

Brasil - Brazil, 2015 / 64 / DM / Color


Portugus - Portuguese
D, G, E, DA, P, PE: Eduardo Consonni, Rodrigo T. Marques
F: Rodrigo T. Marques S, M: Marcos Alma, Eduardo Consonni,
Rodrigo T. Marques CP: Compl I: Antonio da Silva
Contacto / Contact
Compl. Eduardo Consonni y Rodrigo T. Marques
T +55 11 996 568 801 +55 11 991 142 210
E eduardo@complo.tv ~ rodrigo@complo.tv
W complo.tv

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competencia oficial latinoamericana

El Tila: Fragmentos de un psicpata


Tila: Fragments of a Psychopath
Tras un apagn repentino en la crcel, el Tila aparece ahorcado ante la mirada sorprendida de sus guardias. Una periodista se obsesiona por sacar a la luz una de las historias ms
macabras y srdidas que se puedan registrar en la historia
policial chilena.

After a sudden blackout in the prison, Tilas dead body hangs


before the eyes of some surprised guards. A journalist becomes obsessed with shedding light on one of the most macabre and sordid stories ever recorded on Chilean police history.

Alguna vez, durante los aos ochenta, Henry: Retrato de un


asesino paraliz al mundo con su relato descarnado sobre un
psicpata sediento de sangre. Dcadas despus, con El Tila:
Fragmentos de un psicpata, los ecos de la pelcula de John
McNaughton resuenan en la historia de un homicida de pasado
atribulado. All, unas cmaras de seguridad monitorean sus ltimos das: vive incmodo consigo mismo y con los dems, casi
en su ltimo estertor. Su pasado se cuela en forma de escritos,
y una periodista intentar sacarlos a la luz. Repelente y brutal,
El Tila no utiliza subrayados ni estridencias para construir un
retrato seco pero sumamente incmodo. Y, a contramano de las
narraciones clsicas, los ojos que llevan adelante el cuento no
son los de la vctima, sino los del asesino. En una lnea: psycho
killers en la vida real. Hernn Panessi

In the Eighties, Henry: Portrait of a Serial Killer paralyzed the


whole world with its raw depiction of a bloodthirsty psychopath.
Decades later, the echoes of John McNaughtons film sound in
El Tila: Fragmentos de un psicpata, a story about a homicide
with a troubled past. Security cameras record his last days: he
lives in discomfort with himself and others, almost like a death
rattle. His past filters through his writings and a journalist will try
to reveal them. Repellent and brutal, El Tila avoids overstressing
and loud elements while building a dry yet very uncomfortable
story. Going against classic storytelling, the view that guides the
story here is not the victims, but the killers. In a nutshell: psycho killers in real life. HP

Alejandro Torres Contreras


Estudi artes en la Universidad de Chile y realizacin cinematogrfica
en la Escuela de Cine de Chile. Cofund la productora Cinepsis y realiz
cortometrajes como Los anteojos, Ismael Hernndez, Epifana y El duende verde. El Tila: Fragmentos de un psicpata es su primer largometraje.
He studied arts at the University of Chile and filmmaking at the Chile Film
School.He co-founded the production company Cinepsisand directed
several short films, including Los anteojos, Ismael Hernndez, Epifana
and El duende verde. El Tila: Fragmentos de un psicpata is his first
feature-length film.

Chile, 2015 / 97 / DCP / Color


Espaol - Spanish
D, G: Alejandro Torres Contreras F: Vicente Mayo Len
E: Martn Bohte DA: Sebastin Accorsi M: Roberto Torres
P: Felipe Morales CP: Cinepsis, Escuela de Cine de Chile
I: Nicols Zrate, Trinidad Gonzlez, Daniela Ramrez,
Daniel Alcano, Rodrigo Soto
Contacto / Contact
Cinepsis. Alejandro Torres Contreras
T +56 9 8434 7921 E torrescontrer@gmail.com
W facebook.com/peliculatilafragmentosdeunpsicopata

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

99

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

latin american official competition

Inmortal
Immortal
Con una fuerza insoslayable, la corriente decide sobre los
cuerpos humanos que deja el conflicto armado. Mientras tanto
una chica busca algn rastro de su novio, y un hombre rescata
esos cuerpos que la marea arrastra a la costa colombiana.

The unstoppable, strong current decides on the bodies the


armed conflict leaves behind. Meanwhile, a girl searches for
any trace of her boyfriend, and a man rescues the bodies the
tides leave on the Colombian shore.

Cosme vive en un pequeo pueblo de la costa colombiana, un


lugar en el que el mar es el que decide sobre la vida y la muerte
y trae a la costa los cuerpos que arroja el conflicto armado,
algo que los lugareos asumen con la naturalidad propia de la
costumbre. Si alguien muere, los rituales incluyen bailes con el
cajn en alto; y las ancdotas ms mundanas se relacionan con
cuerpos en descomposicin y accidentes fatales. Cosme trabaja
rescatando esos cuerpos que trae la corriente; Hellens va a su
encuentro con la ilusin de reconocer un brazo que podra ser
de su novio. A partir de all, y en un elogio del cine inmediato, el
relato avanza con lo puesto y permite que la realidad invada la
pelcula, tuerza el rumbo y ofrezca accidentes de puro vitalismo.
Libertad cinematogrfica en sentido pleno, fuera de todo canon.
Magdalena Arau

Cosme lives in a small town in the Colombian coast, a place


where the sea decides about life and death, bringing to the
coast the bodies the armed conflicts throws, something the locals take with the naturalness of the everyday. If somebody dies,
the rituals include dances with the coffin raised; and the most
mundane anecdotes are related to decomposing bodies and
fatal accidents. Cosme works retrieving the bodies the current
brings; Hellens goes to meet him with the illusion of recognizing a body that could be her boyfriends. From then on, and in
praise of immediate cinema, the tale moves on with simplicity,
allowing for reality to invade the film, make detours and offer
purely vital accidents. Full cinematic freedom, away from any
kind of canon. MA

Homer Etminani
Naci en Tehern, Irn, en 1974, y actualmente vive en Colombia. Licenciado en Filosofa y Letras por la Universidad de Barcelona y diplomado
por el Centre dEstudis Cinematogrfics de Catalunya (CECC), dirigi
Nation (2011).
He was born in Tehran, Iran, in 1974, and currently lives in Colombia. A
graduate in Philosophy and Literature from the University of Barcelona
who majored at the Catalonia Cinema Studies Center (CECC), he directed
Nation (2011).

100

Colombia / Espaa - Colombia / Spain, 2016


74 / DCP / Color / Espaol - Spanish
D, G, F, E, S, PE: Homer Etminani DA, P: Carmen Viveros CP: FakeFilms
I: Cosme Peate, Hellens Rentera, Yesenia Quirz, Rita Quirz
Contacto / Contact
FakeFilms. Homer Etminani
T +57 304 364 8151
W hetminani.wix.com/fakefilms

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PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia oficial latinoamericana

Territorio
Filmado en Ecuador, el viaje empieza en el ocano, a travs de
las montaas, y desciende en la selva. Una experiencia atemporal a partir de imgenes de personas y paisajes a la espera
de ser observados.

Shot in Ecuador, its a journey that starts at the ocean, continues through the mountains and descends in the jungle.
A timeless experience through images of people waiting to
be watched.

Alexandra Cuesta cita al eterno errante Henri Michaux como


uno de los disparadores de su primer largometraje. No deja de
ser curioso, entonces, que la secuencia con la que comienza
Territorio (primer film de Cuesta rodado en su Ecuador natal)
nos muestre una lancha que se dirige a la costa. Es muy probable que para Cuesta la imagen del agua esconda la misma
connotacin que para el autor de La mer des mamelles: el
regreso al hogar, a la proteccin, al seno materno. Sin desviarse
de los planteamientos formales de su obra anterior, Cuesta traza
un recorrido que atraviesa el pas de norte a sur, dibujando una
cartografa humana en la que se trata de alcanzar un equilibrio
imposible entre la mirada ajena del viajero y la esforzada familiaridad de quien temporalmente vuelve a casa. Fran Gayo

Alexandra Cuesta cites eternal wanderer Henri Michaux as one


of the inspirations for her first feature. Its curious, then, that
the opening sequence of Territorio (the first film Cuesta shot in
her native Ecuador) shows us a boat heading for the shore. It is
very likely that, to Cuesta, the image of water hides the same
connotation than it does to the author of The Sea of Breasts:
returning home, being sheltered in the mothers womb. Without
detouring from the formal approaches of her previous work,
Cuesta traces a journey that crosses the country from north
to south, drawing a human cartography in which the aim is to
achieve an impossible balance between the foreign travelers
gaze and the earnest familiarity of those who return home temporarily. FG

Alexandra Cuesta
Naci en Ecuador en 1980, y estudi fotografa en Savannah, Georgia,
y luego cine en CalArts. Dirigi varios cortometrajes, como Piensa en m
(2009) y Despedida (2012).
She was born in Ecuador in 1980, and studied photography in Savannah,
Georgia and then film at CalArts. She directed many shorts, like Piensa
en m (2009) and Despedida (2012).

Ecuador, 2016 / 65 / DCP / Color


Espaol - Spanish
D, F: Alexandra Cuesta E: Alexandra Cuesta, Pablo Mazzaolo
S: Xavier Muller P: Alexandra Cuesta, Alfredo Mora, Micaela Rueda
Contacto / Contact
Alexandra Cuesta
T +1 607 422 0335
E alexiagalaxia@gmail.com
W alexandracuesta.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

101

PREMIERE LATINOAMERICANA / LATAM PREMIERE

latin american official competition

UIO: Scame a pasear


UIO: Take Me for a Ride
Sara cursa el ltimo ao de la secundaria, no tiene muchos
amigos y est atrapada entre una madre dominante y un padre distrado. Pero todo cambia cuando conoce a Andrea, su
nueva compaera de clase, con la que comenzar una relacin ntima en secreto.

Sara is in her last year of high school, doesnt have many


friends and is trapped between a dominating mother and an
inattentive father. But everything changes when she meets
Andrea, her new schoolmate, with whom she will start an intimate relationship in secret.

UIO hace de la intimidad su territorio. En una especie de danza


de encantamiento, la pelcula se esmera en encontrar la distancia justa para dar cuenta del espacio que separa a dos chicas
que se conocen en el momento en que ya la escuela se termina,
y con eso la adolescencia deja paso a otra cosa. Prescindiendo
de peripecias narrativas y dejando las fricciones con el exterior
a un lado, es en ese mundo privado refugio ante toda inclemencia donde las imgenes se instalan y respiran. En el modo
en que se miran por primera vez, en las primeras conversaciones, en las primeras salidas, la pelcula pareciera decirnos que
no hay nada ms all de eso, y esa intimidad que construye
se vuelve cada vez ms poderosa y secreta. Magdalena Arau

UIO makes intimacy its territory. In some sort of enchantment


dance, the film struggles to find the right distance in order account for the space between two girls who meet when school
is ending and adolescence gives way to something else. Avoiding narrative surprises and leaving the frictions with the outside world aside, it is in that private world a shelter against
inclemencies of any kind that the images settle and breathe.
In the way they look at each other for the first time, in their
first conversations, their first hangouts, the film seems to tell
us theres nothing beyond the two of them, and the intimacy it
builds becomes more and more powerful and secret. MA

Micaela Rueda
Naci en Quito, Ecuador, en 1983. Estudi direccin en la FUC. Actualmente lleva a cabo talleres de direccin de actores. Dirigi dos cortometrajes y un documental.
She was born in Quito, Ecuador, in 1983. She studied filmmaking at the
FUC. She is currently running actors direction workshops. She directed
two shorts and a documentary.

Ecuador / Colombia / Mxico - Ecuador / Colombia / Mexico, 2016


71 / DCP / Color / Espaol - Spanish
D, G: Micaela Rueda F: Manuel Bascoy E: Amaia Merino,
Micaela Rueda DA: Emilia Dvila S: Juan Jos Luzuriaga
P: Patricia Maldonado, Micaela Rueda, Diana Montenegro,
Carlos Hernndez CP: Ella Tambin Films, Cinema C.O, Media Mac
I: Samanta Caicedo, Mara Juliana Rngel, Diego Naranjo, Paty Loor,
Monserrat Astudillo
Contacto / Contact
M-appeal. Torsten Schulze
T +49 306 150 7505 E films@m-appeal.com W m-appeal.com

102

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PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

competencia oficial latinoamericana

Flores silvestres
Wild Flowers
Tomando como base el relato Clamo aromtico, del escritor
polaco Jaroslaw Iwaszkiewicz, Lombardini construye la vida
de Marta, una mujer que se encuentra paralizada por un doloroso recuerdo y que un buen da conoce a Germn, el misterioso mujeriego del pueblo.

Flores silvestres sigue a Marta, una mujer que vive con un dolor
eterno, expresado a partir de los silencios, de la incomunicacin, de todo aquello que no se dice y, sin embargo, est presente. La cmara observa la naturaleza y los espacios fsicos
y les otorga un peso especial, como si ellos fueran los mudos
acompaantes en el duelo de esta mujer, que ha perdido algo
irrecuperable. La amistad que ella entabla con un joven de la
zona genera inters a partir de su ambigedad: hay tensin
sexual o ella ve en l el recuerdo de lo perdido? Hay atraccin
o acaso el joven representa el fantasma de ese pasado que
convive en la cotidianidad de Marta? Flores silvestres deja en
el aire esas preguntas porque quizs no tengan una respuesta
clara. Como si el dolor, a fin de cuentas, terminara por difuminarlo todo. Rodrigo Bedoya
Pablo Prez Lombardini
Naci en Ciudad de Mxico en 1987 y se gradu como director de cine
del Centro de Capacitacin Cinematogrfica (CCC) en el ao 2015. Escribi y dirigi Mi camiseta y mi calcetn (2009), Dejemos el futuro atrs
(2010), El espejo (2011), La laguna encantada (2012) y Mi santa muerte
(2015), entre otros.
He was born in Mexico City in 1987 and graduated as a filmmaker
from the Film Training Center (CCC) in 2015. He wrote and directed
Mi camiseta y mi calcetn (2009), Dejemos el futuro atrs (2010),
El espejo (2011), La laguna encantada (2012) and Mi santa muerte
(2015), among others.

Based on the short story Clamo aromatico by Polish writer


Jaroslaw Iwaszkiewicz, Lombardini depicts the life of Marta, a
woman who finds herself paralyzed by a painful memory and
one day meets German, the towns mysterious womanizer.

Flores silvestres follows Marta, a woman suffering from an


eternal pain she expresses through silences, lack of communication, and unspoken issues and yet, it is there. The camera
observes nature and physical spaces and provides a special
density to them, as if they were silent partners in her mourning
for something she lost forever. Her friendship with a young man
from the area creates an interest triggered by its ambiguity: is
there s sexual tension, or rather she sees in him a memory of
what she lost? Is there an attraction or does the young man
stand for the ghost of that past that still exists in Martas everyday life? Flores silvestres leaves these matters unresolved,
because they may not have a clear answer. As if, in the end, pain
blurs everything out. RB

Mxico - Mexico, 2015 / 50 / DCP / Color


Espaol - Spanish
D, G: Pablo Prez Lombardini F: Gabriel Serra E: Lenz Claure
DA: Xavi Bar S: Nicols Aguilar Lmenes P: Mihaya Urtuzustegui,
Pablo Prez Lombardini PE: Karla Bukantz, Henner Hofmann
CP: Centro de Capacitacin Cinematogrfica A.C. I: Carolina Politi,
Adrin Carren, David Hevia, Mara Teresa Garagarza, Daniela Castillo
Contacto / Contact
Centro de Capacitacin Cinematogrfica. Boris Miramontes
T +52 55 4155 0090
E boris@elccc.com.mx W elccc.com.mx

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

103

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

latin american official competition

WIK
Tres jvenes limeos viven el verano en una ciudad en apariencia esttica. En su afn por querer hacer algo con su tiempo, se descubren a s mismos y a los mundos que habitan.

Three young men from Lima live the summer in an apparently


static city. In their effort for doing something with their time,
they discover themselves and the worlds they inhabit.

Con una conviccin que pareca olvidada, el debut en la direccin de Rodrigo Moreno del Valle recobra el pulso de los jvenes
lanzados al verano y a las noches desesperanzadas, en una
ciudad cuyos rasgos autctonos parecen diluirse en medio de
un cosmopolitismo de clases acomodadas. Los protagonistas
caminan las calles, van a boliches o asisten a fiestas con un
objetivo difuso: sustraerse de la soledad, del aburrimiento, de
una forma inconclusa de angustia; pasar el tiempo como se
pasan los das de la semana que marcan cada captulo de la
pelcula. El director es capaz de encontrar un tono que impugna
con esmerada malevolencia los lugares comunes propios de las
pelculas de jvenes inconstantes. Wik exhibe con igual dedicacin el fragor de los encuentros en el terreno amoroso y su contrapartida: el silencio feroz de las horas perdidas. David Obarrio

With a conviction that appeared to be forgotten, Rodrigo Moreno


del Valles debut recovers the pulse of young people thrown into
summer and hopeless nights, in a city with local features that
seem to get diluted into the cosmopolitan life of well-of classes.
The characters wander through the streets, get into clubs, or go
to parties with a blurred goal: distract themselves from loneliness, boredom, or an unfinished form of anguish, and spend
time in the same way days pass by in this film, each one marking a different chapter. The filmmaker is able to find a tone that
works hard to scorch on the common places of dilettante young
people. Wik features both the passion of love encounters and its
opposite side: the ferocious silence of wasted hours. DO

Rodrigo Moreno del Valle


Estudi ciencias de la comunicacin en la Universidad San Ignacio de
Loyola. Dirigi cinco cortometrajes. Tambin se desempea como director de publicidad.
He studied communication sciences at the San Ignacio de Loyola University. He directed five shorts. He also directs commercials.

Per - Peru, 2016 / 77 / DCP / Color / Espaol - Spanish


D: Rodrigo Moreno del Valle G: Illary Alencastre Pinilla, Rodrigo Moreno
del Valle F: Alonso Luque, Pietro Bulgarelli E: Alberto Barzola
DA: Illary Alencastre Pinilla S: Rosa Mara Oliart M: Maxi Prietto
P: Eliana Illescas, Paul Crdova, Miguel lvarez Caldern PE: Eliana
Illescas, Alfredo Letts CP: Cienfuegos Cine I: Pedro Pablo Corpancho,
Piera del Campo, Jean Phil Arrieta, Olivia Manrufo, Pablo Mamani
Contacto / Contact
Cienfuegos Cine. Rodrigo Moreno del Valle
T +51 1 964 605 060
E rmorenodelvalle@gmail.com W facebook.com/wiklapelicula

104

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competencia oficial derechos humanos


human rights official competition

PREMIERE AMERICANA / AMERICAN PREMIERE

fuera de competencia - out of competition

HUMAN RIGHTS official competition


APERTURA / OPENING

Writing on the City


Escribiendo en la ciudad
El cineasta iran cuenta la historia del grafiti en Tehern, desde
la revolucin de 1979 que desencaden la cada del Sh hasta
la revolucin verde de 2008.

The Iranian filmmaker tells the story of graffiti in Teheran, from


the 1979 revolution that led to the fall of the Shah to 2008s
Green Revolution.

Los grafitis han anunciado histricamente los principales eventos ocurridos en Tehern. Esos mensajes se han extendido
como los muros levantados en la ciudad durante los ltimos
200 aos. Sin embargo, los conceptos e intenciones de las
pintadas han reflejado con frecuencia un espejo distorsionado
de la realidad iran. La mirada del cineasta kurdo-iran Keywan
Karimi va ms all del relato histrico-poltico sobre la evolucin
de la sociedad iran que nos proponen el material de archivo y
las imgenes rodadas por el propio Karimi. La pelcula plantea
debates universales que el paso del tiempo ha transformado en
una implacable metfora sobre la resistencia de su director. El
Tribunal de la Revolucin iran ha condenado recientemente a
Karimi a un ao de prisin y 223 latigazos por dirigir Writing on
the City. Los autnticos grafiteros nunca estn al servicio del
poder. Marcos Merino

Graffiti have historically announced the main events that have


taken place in Teheran. These messages have extended like
the walls built in the city for the past 200 years. However, the
concepts and intentions of the graffiti have frequently reflected
a distorted mirror of Iranian reality. Kurdish-Iranian filmmaker
Keywan Karimis eye goes beyond the historical-political account of the evolution of Iranian society proposed by the archive
footage and the images shot by Karimi himself. The film raises
universal debates that time has turned into an implacable metaphor for its directors resistance. Irans Revolutionary Court has
recently sentenced Karimi to one year in prison and 223 lashings for having directed Writing on the City. The authentic graffiti
artists are never in the service of power. MM

Keywan Karimi
Naci en Irn en 1985, y estudi comunicacin en la Universidad de
Tehern. Comenz su carrera con una serie de cortos documentales que
eran una crtica a la vida en su pas.
He was born in Iran in 1985 and studied communication at the University
of Teheran. He started his career with a series of documentary shorts that
were critical of life in his country..

106

Irn - Iran, 2015 / 60 / DCP / Color / Persa - Farsi


D, G: Keywan Karimi F: Arastoo Madahi Givi E: Farahnaz Sharifi
S, M: Bamdad Afshar P: Keywan Karimi,
Masoud Kowsari I: Farahnaz Sharifi, Salman Razavi
Contacto / Contact
Punto de Vista
E produccion@puntodevistafestival.com
W puntodevistafestival.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

competencia oficial DERECHOS HUMANOS

La memoria de los huesos


The Memory of the Bones
La esperanza de cientos de familiares de desaparecidos est
depositada en el trabajo del Equipo Argentino de Antropologa
Forense, que lleva 30 aos identificando los restos de desaparecidos en varios pases. Solo la restitucin de los restos a sus
familiares puede cerrar las heridas abiertas.

The hope of hundreds of relatives of disappeared people lies in


the work of the Argentine Forensic Anthropology Team, which
has been identifying remains of the disappeared in several
countries for 30 years. Only the restitution of the remains to
their relatives can heal the open wounds.

La memoria de los huesos se centra en el trabajo del Equipo


Argentino de Antropologa Forense, cuya tarea de identificar los
cadveres enterrados clandestinamente por la dictadura militar
se muestra como continuidad de la bsqueda de los hijos de
desaparecidos. Pelcula de procedimientos cinematogrficos
(paciencia, serenidad, ausencia de voz en off y de entrevistas
directas, cuidadosa seleccin de casos y locaciones), pero
tambin cientficos y legales no menos ntidos (protocolos para
excavar y clasificar restos, tcnicas para convencer a presuntos
hijos), se sostiene como sus protagonistas, fatigados despus
de treinta o cuarenta aos de lucha, en el imperecedero dolor
de los familiares y en la conviccin de que la batalla por la memoria es la batalla por el control del Estado. Quintn

The Memory of the Bones centers on the work done by the


Argentine Forensic Anthropology Team, whose task of identifying the bodies buried clandestinely by the military dictatorship is
shown as continuity in the search for the children of the disappeared. A film of cinematic procedures (patience, serenity, an
absence of voiceover narrative and direct interviews, a careful
selection of cases and locations), but also scientific and legal
ones as sharp as the former (protocols for excavating and classifying remains, techniques to convince presumed sons and
daughters), it holds up as its protagonists do, tired after thirty
or forty years of struggle, in the undying grief of the relatives as
well as the conviction that the battle for memory is the battle for
the control of the State. Q

Facundo Beraudi

Argentina, 2016 / 80 / DCP / Color / Espaol - Spanish

Naci en Argentina en 1968, y a los seis aos se mud a Barcelona.


Tiene un mster en Documental de Creacin de la Universidad Pompeu
Fabra. Dirigi varios cortos documentales, como La determinacin de
Aminetu (2009).
He was born in Argentina in 1968 and moved to Barcelona at 6. He has
a masters in Creative Documentary Filmmaking from the Pompeu Fabra
University. He directed many documentary shorts, such as La determinacin de Aminetu (2009).

D, G: Facundo Beraudi F: Diego Delpino, Facundo Beraudi


E: Vernica Rossi DA, PE: Victoria Nardone S: Martn Grignaschi
M: Ral Fernandez Mir P: Facundo Beraudi, Victoria Nardone
CP: Roccomotion I: Patricia Bernardi, Rosaria Isabella Valenzi,
Roxana Mejivar, Juan Nobile, David Toubes
Contacto / Contact
Roccomotion. Facundo Beraudi
T +54 11 4822 8399
E facundoberaudi@gmail.com
W roccomotion.com ~ roccomotion.com/la-memoria-de-los-huesos

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

107

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

HUMAN RIGHTS official competition

FtWTF - Female to What The Fuck


Las realizadoras retratan a seis personas que, por diferentes
razones, asumen una identidad transgnero. El antes y el despus de una transformacin en la que el cambio de sexo es
solo una parte de la exploracin de la propia identidad.

The filmmakers follow six people who, for different reasons,


take on a transgender identity. The before and after of a transformation in which sex change is only a part of the exploration
of ones own identity.

Intimista y radicalmente honesta, Female to What the Fuck


presenta en primera persona los deseos y objetivos de varios
hombres trans que viven en Viena; las reflexiones sobre su transicin, sobre sus cuerpos, y el papel de la mirada ajena. Entre
tanta filosofa queer y teora de gnero, todos ellos se acercan
a la misma conclusin: la necesidad de superar y dejar atrs
el binarismo, las clasificaciones y las etiquetas con las cuales
la sociedad encasilla a las personas. Y trascender, de una vez
por todas, esas categoras impuestas para crear nuevos y libres
modos de expresar las identidades. Como seala Persson en
una reunin colectiva: Todo se volvera ms simple si aboliramos esto de hombre/mujer; si nos definiramos de forma
diferente, ms como una contrasexualidad. Alejandro Dramis

Intimist and radically honest, Female to What the Fuck presents


the desires and goals of several trans men living in Vienna in the
first person; the reflections on their transition, on their bodies,
and the role played by the gaze of others. Among so much queer
philosophy and gender theory, all of them come to the same
conclusion: the need to leave behind and overcome binarism,
the classifications and labels with which society pigeonholes
people. And transcending, once and for all, those imposed
categories in order to create new and free ways of expressing
identities. As Persson points out at a collective meeting: Everything would become much simpler if we abolished this man/
woman thing; if we defined ourselves differently, more like a
countersexuality. AD

Katharina Lampert

Austria, 2015 / 92 / DM / Color / Alemn / German

Naci en Viena en 1976. Estudi literatura y arte conceptual. Realiz


numerosas exposiciones y dirigi tres documentales.
She was born in Vienna in 1976. She studied literature and conceptual
arts. She did many exhibits and directed three documentaries.

Cordula Thym
Naci en Austria en 1977, y estudi en la Academia de Cine de Viena.
Tambin se form como ingeniera en sonido y toc la batera en varias
bandas.
She was born in Austria in 1977, and studied at Filmacademy Vienna.
She also trained as a sound engineer and played drums in many bands.

108

D, G, DA, P, PE: Katharina Lampert, Cordula Thym F: Judith Benedikt


E: Niki Mossbck S: Johanna Kirsch M: Armin Lorenz I: Denice
Bourbon, Mani Tukano, Dorian Bonelli, Nick Prokesch, Hans Scheirl
Contacto / Contact
sixpackfilm. Dietmar Schwarzer
T +43 1 526 0990
E dietmar@sixpackfilm.com
W sixpackfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial DERECHOS HUMANOS

Belle de nuit - Grislidis Ral


autoportraits
Bella de noche - Autorretratos de Grislidis Ral
Un film que se anima a navegar sin lmites por el mundo de
la escritora, pintora y activista Grislidis Ral. Imgenes inspiradas en sus textos, dibujos y material de archivo forman
un retrato plural y complejo de una mujer que pide por favor,
mencionen que soy, adems, una puta revolucionaria.

A film that dares to navigate the entire world of writer, painter,


and activist Grislidis Ral. Images inspired in her texts, drawings, and archive footage aim to sketch a plural and complex
portrait of a woman who asks that please, mention that Im
also a revolutionary whore.

Grislidis Real. He aqu una pionera, una escritora cuya obra,


aun en la actualidad, hara fruncir el ceo y tambalear a todos
los sistemas de correccin poltica a izquierda y derecha, una
mujer que en sus ltimos das de vida, tras haber ejercido
por treinta aos la prostitucin, confiesa que su oficio le ha
dejado innumerables marcas en cuerpo y alma, pero tambin
un inmenso amor a la vida y un respeto por el sufrimiento del
otro. A travs de un collage pleno de generosidad y entrega,
en el que se combinan entrevistas con cortes musicales, fugas
lricas y archivo, Belle de nuit recupera para el siglo XXI la figura y el pensamiento siempre apasionado de Grislidis Real,
y nos suma de paso a un viaje en el tiempo hacia un momento
de la Historia en el que todo estaba por construirse, debatirse
y considerarse. Fran Gayo

Grislidis Real. Heres a pioneer, a writer whose work would still


make every left and right wing political correction system frown
and tremble. Heres a woman who, in her last days, and after
working as a prostitute for thirty years, confesses that her job
left her with endless marks on her body and soul, but also an
immense love for life and respect for other peoples suffering.
Through a collage filled with generosity and care, combining
interviews with music scenes, lyrical figures and archive footage, Belle de nuit retrieves the figure and thoughts of Grislidis
Real for the 21st century, and also takes us into a journey back
in time to a moment in History when everything was yet to be
built, debated, and considered. FG

Marie-Eve de Grave
Naci en Blgica en 1965 y estudi arquitectura y escenografa antes
de formarse y graduarse en la Escuela de Cine de Bruselas. Dirigi los
cortometrajes Waiting for Frank (2000), Opale Plage (2010) y Grand Tour
(2013), entre otros.
She was born in Belgium in 1965 and studied architecture and set design
before she trained and graduated from the Brussels Film School. She
directed several short films, including Waiting for Frank (2000), Opale
Plage (2010) and Grand Tour (2013).

Blgica - Belgium, 2016 / 70 / DCP / Color & B&N


Francs - French
D, G: Marie-Eve de Grave F: Jorge Piquer Rodriguez,
Sbastien Koeppel E: Simon Arazi S: Ludovic Van Paschterbeke
M: Pierre Avia P: Franoise Hoste PE: Franoise Hoste
CP: On Move Productions
Contacto / Contact
CBA. Gabriella Marchese
T +32 2227 2230
E promo@cbadoc.be
W cbadoc.be

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

109

HUMAN RIGHTS official competition

Juanicas
Durante diez aos, la directora documenta la compleja relacin que lleva con su madre y su hermano, ambos diagnosticados con trastorno bipolar. Al comienzo, la realizacin del
film parece acercar a la familia, pero enseguida la directora
advierte que las cosas no son tan sencillas.

Through the course of ten years, the director documents her


complex relationship with her mother and brother, both of
them diagnosed with bipolar disorder. At first, the making of
the film seems to bring the family together, but the director
immediately realizes things arent that simple.

El documental familiar parece un hijo del digital; tal ha sido su


proliferacin en los ltimos aos. Juanicas comienza a partir
de unos recuerdos, la memorabilia de Juan, un personaje del
que nada sabemos pero que, tras un flashback que nos lleva
varios aos atrs, se descubre como hermano de la directora.
Tras su vuelta a Quebec y a una presunta normalidad, el relato
cronolgico de Garca Casanova nos va descubriendo el trastorno bipolar y manaco depresivo tanto de su madre como de su
hermano. Los rtulos sobre imgenes en negro y una cmara
que filma a cierta distancia, agazapada, nos informan de los
largos encierros, las hospitalizaciones, la violencia. Obviamente, Juanicas nos habla de Juan, pero responde ante todo a la
necesidad de la cineasta de sacudirse sus propios fantasmas.
Jaime Pena

Family-focused documentaries seem to be born out of digital


cinema that has been the way they have spread in the last
years. Juanicas starts with memories: the memorabilia collection of Juan, a character we know nothing about until a flashback takes us several years in the past and we find out hes the
brother of the director. After his return to Quebec and an apparent normality, Garca Casanovas chronological story progressively reveals us both her mother and brothers bipolar and maniac disorder. The labels against black frames and a crouched
camera that shoots from a distance both inform us of the long
enclosure periods, the hospitalizations, and the violence. Obviously, Juanicas tells us the story of Juan, but it primarily responds to the filmmakers need to shake off her own ghosts. JP

Karina Garca Casanova


Naci en Monterrey, Mxico, en 1978, y se radic en Canad. Dirigi los
cortometrajes Une bonne eleve (2008) y Les Grands Penseurs (2009).
She was born in Monterrey, Mexico, in 1978, and is settled in Canada. She directed the shorts Une bonne eleve (2008) and Les Grands
Penseurs (2009).

Canad / Mxico - Canada / Mexico, 2015 / 78 / DCP / Color /


Espaol / Francs / Ingls - Spanish / French / English
D, G, E: Karina Garca Casanova F: Karina Garca Casanova,
Pablo lvarez-Mesa, Glauco Bermdez, Carlos Ferrand S: Terry Rodman
M: Olivier Alary P: Karina Garca Casanova, Daniela Flori PE: Bob Moore,
Mila Aung-Thwin, Daniel Cross CP: Eyesteelfilm, KGC Films
I: Juan Garca Casanova, Victoria Casanova Lastra, Karina Garca Casanova
Contacto / Contact
Eyesteelfilm. Karina Garca Casanova
T +1 514 804 8696
E karina@eyesteelfilm.com W eyesteelfilm.com ~ juanicas.com

110

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial DERECHOS HUMANOS

En otra casa
Far from Home
Las protagonistas de este documental son mujeres latinoamericanas que viven en Madrid y trabajan como mucamas para
poder enviarles dinero a sus familias, con las que se comunican va Skype. Mientras tanto, suean con el momento de
volver a sus tierras.

The protagonists of this documentary are Latin American


women living in Madrid and working as maids, what allows
them to send money to their families, with which they communicate via Skype. Meanwhile, they dream about returning
to their native lands.

Aqu los patrones quedan fuera de campo (o paralizados, posando para fotos que no son tales). Vemos a las inmigrantes
latinoamericanas que en Madrid cran a los hijos, limpian las
casas y cuidan a los abuelos de los que pueden pagarlo. Ellas
son la imagen en movimiento frente a las (falsas) fotos de sus
empleadores. La verdadera vida parece ser la que viven las
mucamas mientras sus jefes dedican su tiempo a otras cosas.
Claro que esa no es su vida real; aquella qued en suspenso
del otro lado del Atlntico. La amorosa relacin con las nias,
en la que en algn momento hace foco la cmara, tiene como
correlato la imagen familiar pixelada en la computadora de un
cber. La ausencia duele ms por lo irrecuperable del tiempo
perdido que por la distancia fsica. La religin catlica alivia o
avala ese dolor? Fernando E. Juan Lima

While the film places their bosses out of frame (or paralyzed,
posing for pictures that are not such), we see the Latin American
immigrants in Madrid who are raising their kids, cleaning their
houses, and taking care of the elderly who can afford it. They are
the moving pictures against the (false) photos of their employers. Real life seems to be the one experienced by the maids,
while their bosses make other uses of their own time. Of course,
thats not their real life their life was left suspended in time
on the other side of the Atlantic. The camera occasionally focuses on their loving relationship with the girls, which echoes in
a pixelated family picture from a cyber cafs computer monitor.
Rather than physical distance what makes absence more painful is actually the irretrievable nature of lost time. Does Catholic
religion ease that pain, or endorses it? FEJL

Vanessa Rousselot
Naci en Francia, y estudi historia del mundo rabe contemporneo en
La Sorbona. Dirigi el documental (No) Laughing Matter (2010).
She was born in France, and studied the history of the contemporary
Arab world at La Sorbonne. She directed the documentary (No) Laughing
Matter (2010).

Espaa / Francia - Spain / France, 2015 / 55 / DM / Color


Espaol - Spanish
D, G: Vanessa Rousselot F: Frodo Garca Conde E: Ainara Nieves
Magan DA: Sofa Morate M: Nicols Francart P: Gilles Le Mao, Sofa
Morate, Nicols Garca PE: Gilles Le Mao, Sofa Morate, Nicols Garca
CP: La Huit, Catorce Comunicacin
Contacto / Contact
Playtime Audiovisuales. Natalia Piuel
T +34 915 444 888
E natalia@playtimeaudiovisuales.com
W playtimeaudiovisuales.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

111

HUMAN RIGHTS official competition

LHumour mort
I Am Charlie
El humor hasta la muerte
Padre e hijo rinden homenaje a los 12 periodistas de la revista satrica francesa Charlie Hebdo que murieron en el ataque
terrorista de enero de 2015. Por otro lado, el film registra el
trabajo de la redaccin mientras trabaja para producir su primera edicin postatentado.

Father and son pay tribute to the twelve journalists from


the satiric French magazine Charlie Hebdo who died in the
terrorist attack of January 2015. The film also captures the
work of the editorial department while working on the first
post-attack issue.

El 7 de enero de 2015, dos hombres armados entraron en la


redaccin del semanario satrico Charlie Hebdo. El resultado: la
muerte de doce integrantes del staff del clsico francs, incluyendo a pesos pesados del humor cido y frontal en historietas.
Ni el humor grfico se salvaba de la idiotez armada. El actor
Daniel Leconte y su hijo Emmanuel hablan sobre la revista, sobre sus antecedentes con atentados e incluso sobre ese da,
mientras entrevistan a la sobreviviente Coco (que narra cmo la
obligaron a abrir la puerta sabiendo lo que eso implicaba). Pero
LHumour mort va ms all de las meras entrevistas: en sus
instantes ms feroces, usando archivos de la misma redaccin,
apunta directo al corazn del habrn ido demasiado lejos con
sus chistes? para entender, con la herida abierta, la estupidez
de aquella pregunta. Juan Manuel Domnguez

On January 7th, 2015, two armed men entered the offices of the
satirical weekly Charlie Hebdo. The result: twelve members of
the staff of this classic in French culture were killed, including
two heavyweights of acid, frontal comic strips. Not even comic
books were spared from armed idiocy. Actor Daniel Leeconte
and his son Emmanuel talk about the magazine, about its previous history with attacks, and even about that day, interviewing
the survivor Coco, who narrates how she was forced to open the
door, knowing what that meant. But I Am Charlie goes beyond
mere interviews: in its most ferocious moments, it uses archive
material from the offices, aims directly at the heart of Maybe
they went too far with their jokes? and, while the wound is still
open, understands the stupidity of that question. JMD

Daniel Leconte
Naci en Argelia en 1949, y se nacionaliz francs. Trabaj como periodista para Le Monde Diplomatique, Libration y Politique Hebdo.
He was born in Algiers in 1949, and became a French citizen. He worked
as a journalist for Le Monde Diplomatique, Libration and Politique Hebdo.

Emmanuel Leconte
Naci en Pars, Francia, en 1982. Hijo de Daniel Leconte, trabaj como
actor en series, como The Tudors, y pelculas.
He was born in Paris, France, in 1982. Daniel Lecontes son, he has
worked as an actor series such as The Tudors as well as films.

112

Francia - France, 2015 / 90 / DCP / Color / Francs - French


D, G: Daniel Leconte, Emmanuel Leconte F: Pierre Isnardon,
Damien Girault, Edouard Kruch E: Grgoire Chevalier-Naud
S: Matthieu Tibi P: Daniel Leconte PE: Raphael Cohen
CP: Film en Stock I: Elisabeth Badinter, Antonio Fischetti,
Franois Hollande, Richard Malka, Eric Portheault
Contacto / Contact
Pyramide International. Ilaria Gomarasca
T +33 1 4296 0220
E ilaria@pyramidefilms.com
W inter.pyramidefilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

fuera de competencia - out of competition

competencia oficial DERECHOS HUMANOS

Homeland (Iraq Year Zero)


Patria (Irak ao cero)
Abbas Fahdel aborda la vida en Irak antes y despus de la
ocupacin post 11-S, mediante registros de los habitantes (la
mayora miembros de su familia) de un pas que sufre las consecuencias de la guerra.

Abbas Fahdel addresses life in Iraq before and after the post
9-11 occupation, through records of people (most of them are
members of his family) in a country that suffers the consequences of war.

Homeland (Irak, ao cero) recupera algo que parece cada vez


ms alejado de los propsitos del arte cinematogrfico: voluntad, paciencia y sensibilidad para registrar el paso del tiempo y
la historia. El formato de home movie le permite a Abbas Fahdel
lograr un retrato nico y absolutamente personal de una ciudad
y de unas personas (que son parte de su familia) devastadas
por la guerra, sujetas a las decisiones de intereses polticos que
disponen el destino de las vidas de cientos de miles. Si bien
todo cine es poltico, pocas veces esta decisin estuvo tan dolorosamente cercana a lo personal. La pelcula es un llamado
de atencin y un manual para que los futuros directores de cine
aprendan a registrar a partir de una mirada que, de tan propia,
se termina transformando en universal. Homeland vuelve real
aquella frase tan llena de connotaciones cinfilas: no hemos
visto nada. Cecilia Barrionuevo

Homeland (Iraq, Year Zero) brings back something that seems


to be increasingly distant from the purposes of cinematographic
art: the will, patience, and sensibility to record the passage of
time and history. The home movie format allows Abbas Fahdel
to achieve a unique and absolutely personal portrait of a city and
people (part of his family) devastated by war, subject to decisions from political interests that determine the fate of hundreds
of thousands of lives. While every cinema is political, few times
has this decision been so painfully close to a personal universe.
The films is a call for attention and a handbook for future filmmakers to learn how to record from such a personal view that
ends up becoming a universal one. Homeland turns into a real
thing a classic sentence that carries lots of film references: we
havent seen anything yet. CB

Abbas Fahdel
Naci en Babilonia, Irak, y vive desde los 18 aos en Francia, donde
estudi cine en La Sorbona. Regres a su pas natal para filmar los documentales Back to Babylon (2002) y We Iraqis (2004). Tambin dirigi el
drama blico Dawn of the World (2008).
He was born in Babylon, Iraq, and at the age of 18 moved to France,
where he studied film at the Sorbonne. He returned to his home country to shoot the documentaries Back to Babylon (2002) and We Iraqis
(2004). He also directed the war drama Dawn of the World (2008).

Irak / Francia - Iraq / France, 2015 / 334


DCP / Color / rabe - Arabic
D, F, E, P: Abbas Fahdel
Contacto / Contact
Abbas Fahdel
T +33 6 6229 7117
E abbas-fahdel@wanadoo.fr
W abbasfahdel.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

113

PREMIERE LATINOAMERICANA / LATAM PREMIERE

HUMAN RIGHTS official competition

Ombre della Sera


Sombras de la tarde
Narrada en primera persona por cinco reclusos de la prisin de
Rebibbia en Roma, esta pelcula tiene la intencin de contar el
difcil camino de la reinsercin social y laboral que transitan
los convictos luego de ser liberados.

A film that aims to depict the hard road to social and work
reinsertion convicts go through after their release. Narrated in
first person by five inmates from the Rebibbia prison in Rome.

La pelcula de Valentina Esposito recrea el paso del confinamiento a la libertad haciendo gala de un tono seco, con el pulso
discreto y potente, al igual que esas almas que amanecen habitando otra vez el mundo exterior. Los encuentros con la familia,
la evidencia del paso del tiempo, el peso de la reclusin que se
demora en los cuerpos que ahora recorren las casas como si se
deslizaran por un territorio desconocido. La pelcula no cede en
ningn momento al lirismo fcil acerca de una improbable redencin definitiva de los personajes, y tampoco pontifica sobre
la necesidad imperiosa de una adaptacin afectiva desligada
del entorno social que llev a esos hombres a la crcel. Ombre
della sera descubre un limbo secreto que se encuentra a mitad
de camino entre la prisin y el mundo verdaderamente libre, y
lo devela delante del espectador. David Obarrio

The film by Valentina Esposito recreates going from confinement


to freedom displaying a dry tone and a firmness that is discreet
and potent like those souls that inhabit the outside world once
more. The reunions with the family, the evidence of the passing
of time, the weight of seclusion that lags in those bodies that
now go around the houses as though they were sliding through
unknown territory. The film never gives in to any easy lyricism
regarding an unlikely definitive redemption of the characters,
nor does it pontificate on the irresistible need for an emotional
adaptation free from the social environment that drove those
men to jail in the first place. Ombre della sera discovers a secret
limbo located halfway between prison and the truly free world,
and unveils it in front of the audience. DO

Valentina Esposito
Naci en Roma en 1975 y estudi arte dramtico. En 2003 comenz
su trabajo social en la prisin de Rebibbia realizando varias obras de
teatro con los internos, entre ellas Hamlet, xodo, Fitzcarraldo, y muchas
otras. Tambin coordin la parte de teatro de Cesare deve morire (2012),
ganadora en 2012 del Oso de Oro en la Berlinale.
She was born in Rome in 1975 and studied drama. In 2003 she began
her social work at the Rebibbia prison by staging several plays with the
interns, including Hamlet, Exodus, Fitzcarraldo, and many others. She
also coordinated the theater portion of Caesar Must Die (2012), winner of
the Golden Bear at the Berlinale in 2012.

114

Italia - Italy, 2016 / 84 / DCP / Color


Italiano - Italian
D, G, DA: Valentina Esposito F: Luca Nervegna E: Christian Lombardi
S: Claudio Marani M: Luca Novelli P: Riccardo Neri, Maurizio Albano
PE: Riccardo Neri CP: Lupin Film, Simonfilm I: Pippo Delbono, Romolo
Napolitano, Giancarlo Porcacchia, Alessandro Bernardini, Matteo Cateni
Contacto / Contact
Lupin Film. Riccardo Neri
T +39 06 8339 6746
E info@lupinfilm.com
W lupinfilm.com ~ ombredellasera.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

competencia oficial DERECHOS HUMANOS

A Maid for Each


Mucamas para todos
Zein tiene una agencia de empleo domstico en el Lbano y
trae mujeres de frica y Asia para trabajar en casas locales. A
travs de tres personajes, la pelcula intenta hacer una diseccin completa del sistema.

Zein has an employment agency for maids in Lebanon and


brings women from Africa and Asia to work in Lebanese
homes. Through three characters, the film tries to dissect the
system completely.

El escenario: una agencia de contratacin de mucamas. Con ese


lmite espacial, Maher Abi Samra entrega un ensayo tan contundente como exploratorio e incisivo sobre el trabajo. O sobre dos
tipos de trabajo: el de los dueos y encargados de la agencia y
el de las mucamas. O, de forma ms precisa, sobre cmo es
pensado y manejado el trabajo de las mucamas, porque en este
recorte no son visibles, apenas tienen voz. A Maid for Each describe su trabajo mediante la interaccin de la agencia con los
clientes, los que piden, pagan, eligen y tambin se quejan de las
mucamas. Un documental que acumula hallazgo sobre hallazgo,
que pregunta y delimita con el encuadre, que deja hablar a los
que deciden sobre otras personas, que asombra constantemente
y que encuentra una forma narrativa precisa y nada obvia para
hacer cine sobre esclavitudes actuales. Javier Porta Fouz

The setting: a maid service agency. Within that spatial limitation,


Maher Abi Samra delivers a solid, exploratory and incisive essay about work. Or about two different kinds of work: the one
of the owners and the one of the maids. Or, rather, about the
way housemaid work is conceived and handled, since they are
not made visible by the film and barely have a voice. A Maid for
Each describes their work through the interaction between the
agency and the clients, who ask, pay, choose, and also complain about the maids. This is a documentary that piles up its
findings one over the other, uses its framing to question and
demarcate, lets those who decide on other people speak freely,
astonishes us constantly, and finds a precise narrative with no
obvious elements, in order to make a film about the current
forms of slavery. JPF

Maher Abi Samra

Lbano - Lebanon, 2016 / 67 / DCP / Color / Libans - Lebanese

Naci en Beirut, Lbano, en 1965. Estudi cine en La Fmis de Pars,


y trabaj como fotgrafo para peridicos y agencias de noticias. Dirigi numerosos cortos y mediometrajes documentales, entre ellos, Le
Syndrome du retour (1994), Femmes du Hezbollah (2000), Inhabitance
of Shatila Hospital (2001), Rond-Point Chatila (2004) y We Were Communists (2010; Bafici 11).
He was born in Beirut, Lebanon, in 1965. He studied film at La Fmis de
Paris, and worked as a photographer for newspapers and news agencies.
He directed many short and mid-length documentary features, including
Le Syndrome du retour (1994), Femmes du Hezbollah (2000), Inhabitance of Shatila Hospital (2001), Rond-Point Chatila (2004), and We Were
Communists (2010; Bafici 11).

D, G: Maher Abi Samra F, DA: Claire Mathon E: Rana Sabbagha,


Ruben Korenfeld S: Moncef Taleb P: Serge Lalou, Camille Laemle,
Ida Ven Bruusgaard Eirin, Hgetveit PE: Sabine Sidawi, Jinane Dagher
CP: Orjouane Productions, Les Films Dici, Medieoperatrene As
I: Zein El Amin, Amal Barakat, Bernadette Hodeib, Rahel Zegeye
Contacto / Contact
Doc and Film International. Hannah Horner
T +33 1 4277 5687
E h.horner@docandfilm.com
W docandfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

115

HUMAN RIGHTS official competition

Las letras
The Letters
En el 2000, en la regin de los altos de Chiapas, tuvo lugar
una emboscada contra una patrulla en la que hubo policas
muertos. El profesor Alberto Patishtn fue sealado como el
culpable y sentenciado a 60 aos de prisin. La pelcula escarba en las entraas de esta historia.

In the year 2000, in the region of the heights of Chiapas, an


ambush against a patrol car took place, and a few policemen
died. Professor Alberto Patishtn was found guilty and sentenced to 60 years in prison. The film unearths the entrails
of that story.

Es curioso, pero por momentos la pelcula de uno de los cineastas ms independientes de Mxico tiene bastantes parecidos
formales con una de quien hoy es su mximo representante
internacional. Chavarra filma buena parte de Las letras con
un tipo de lente y movimientos de cmara que recuerdan a lo
que hacen Irritu y Lubezki en El renacido: planos largos y en
movimiento perpetuo en los que los rostros y cuerpos se enfrentan con la inmensidad del paisaje, y la sensacin de que los
objetos y el espacio se pueden palpar. Solo que aqu el tema y
el contexto son muy distintos. En el retrato de una familia y una
comunidad que conviven con la ausencia de uno de sus miembros, Chavarra experimenta sobre el lenguaje; caras, cuerpos,
escenarios. Un mundo, un universo: cartas visuales para alguien
que no puede verlas. Diego Lerer

Its funny, but at times, the film by one of the most independent filmmakers in Mexico has quite a few formal similarities
with one by its maximum international representative. Chavarra
shoots much of The Letters with a type of lens and some camera moves that remind of what Irritu and Lubezki do in The
Revenant: lengthy shots in perpetual motion in which the faces
and the bodies face the immensity of the landscape, and the
feeling that the objects and the space are palpable. Only here
the subject matter and context are very different. In the portrait
of a family and a community who deal with the absence of one
of its members, Chavarra experiments on language; faces, bodies, sceneries. A world, a universe: visual letters for someone
who cant see them. DL

Pablo Chavarra Gutirrez


Naci en Mxico en 1986. Es bilogo graduado de la Universidad Autnoma de Nuevo Len. Dentro de su filmografa se encuentran obras como
Terrafeni (2012) y El resto del mundo (2014).
He was born in Mexico in 1986. He is a biologist graduated from the
Nuevo Len Autonomous University. His work includes films like Terrafeni
(2012) and El resto del mundo (2014).

Mxico - Mexico, 2015 / 77 / DCP / Color


Tzotzil - Espaol - Tzotzil / Spanish
D: Pablo Chavarra Gutirrez F: Diego Amando Moreno Garza
E: Israel Crdenas, Pablo Chavarra Gutirrez DA: Mariana Cedillo
S: Gerardo Villarreal M: Julio Torres P: Alexandro Aldrete, Juan Farr F.
PE: Diego Osorno, Gabriel Nuncio CP: Bengala, CONARTE, IMCINE
I: Alberto Patishtn, Hctor Patishtn, Gabriela Patishtn
Contacto / Contact
Bengala. Alexandro Aldrete
T +52 55 6721 0446
E info@agenciabengala.com ~ alexandro@agenciabengala.com
W www.agenciabengala.com

116

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

competencia oficial DERECHOS HUMANOS

Ever the Land


Siempre la tierra
A travs de una de las tribus maores ms independientes y
apasionadas de Nueva Zelanda llamada NgiThoe, este
film explora hasta lo ms profundo y sublime de los vnculos
entre el ser humano y la tierra en la que vive y construye.

Through one of the most independent and passionate Maori


tribes in New Zealand the NgiThoe this film explores the
deepest and most sublime links between human beings and
this planet where they live and prosper.

Cuando la tierra es prspera, el hombre es prspero, dice


una indgena Tuhoe en algn momento de este documental.
Esa frase, firme, inalterable, atraviesa este primer largometraje
de Sarah Grohnert. Porque aqu no solo se cuenta la historia
de un edificio construido sustentablemente (un living building);
tambin se materializa el vnculo forjado entre un determinado
espacio y quienes lo habitan. As se retrata lo intangible de una
relacin de silencioso respeto, absoluta entrega y eterna admiracin. A esa admiracin es que se suma Grohnert, y en eso
est lo ms valioso de esta pelcula que parece encerrar otra:
aquella que sucede frente a nuestros ojos, y aquella que se va
en los ojos de esta directora quien, mientras todo esto acontece,
nunca deja de mirar el parque nacional Te Urewera. Josefina
Garca Pulls

When the land is prosperous, man is prosperous, says a Tuhoe


native at one point in this documentary. That firm, unchangeable
sentence runs across this first film by Sarah Grohnert. Because
this is not just the story of a sustainable building (a living building), as theres also a material connection forged between a
particular space and the people living in it. The film thus portrays
the intangible nature of a relationship of silent respect, absolute
care, and eternal admiration. Gornhert joins that admiration, and
thats the richest element in this film, which seems to enclose
yet another one: one that takes place in front of our eyes, and
in the eyes of the director, who is constantly observing the Te
Urewera national park while all this takes place. JGP

Sarah Grohnert
Naci en Alemania, se form como editora y, ms tarde, como realizadora
en el Instituto de Artes Bournemouth en Reino Unido. Desde 2010 vive
en Nueva Zelanda, lugar en el que ha desarrollado diversos proyectos
para cine y televisin.
She was born in Germany, where she trained as an editor and a filmmaker at the Bournemouth Institute for the Arts in the UK. In 2010 she moved
to New Zealand, where she developed several projects for film and TV.

Nueva Zelanda - New Zealand, 2015


90 / DM / Color
Ingls / Maor - English / Maori
D, F: Sarah Grohnert E: Prisca Bouchet P: Alexander Behse
CP: Monsoon Pictures International Ltd.
Contacto / Contact
Monsoon Pictures International Ltd. Alexander Behse
T +64 2198 0496
E alex@monsoon-pictures.com
W monsoon-pictures.com ~ evertheland.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

117

PREMIERE AMERICANA / AMERICAN PREMIERE

HUMAN RIGHTS official competition

A Man Returned
Un hombre regres
Para escapar de las malas condiciones en el campo de refugiados palestinos de Ain al-Hilweh, Reda vag por Grecia
durante tres aos. Ahora regresa al campamento, que est
sufriendo los efectos de la guerra en Siria, mientras intenta
rehacer su vida.

In order to escape the terrible conditions in the Palestine refugee camp of Ain al-Hilweh, Reda wandered around Greece for
three years. Now hes back in the camp, which is suffering the
effects of the war in Syria, and tries to rebuild his life.

El documental se encuentra con la comedia de matrimonio;


poco importa que solo sobre el final veamos a la prometida. La
cmara sigue todo el tiempo a Reda, de 26 aos, que regresa
de Grecia al campo de refugiados palestinos en Lbano del que
haba escapado para casarse con su novia de la infancia. La
violencia y la crudeza de las imgenes (el arma en el cinto y la
jeringa colgando del brazo por la adiccin a la herona adquirida
en la aventura europea) no impiden que el motor de la trama
sea el futuro casamiento, lo que genera humor en un contexto
en principio no frtil para eso y aumenta la empata hacia el
protagonista. Despus de todo, no ha sido la comedia romntica la que nos ha enseado que el amor es la cura de todos los
males? Fernando E. Juan Lima

The documentary genre meets the marriage comedy forget


about the fact that we only get to see the fiance in the end.
The camera follows 26 year-old Reda all the time, as he returns
from Greece to the Palestine refugee camp in Lebanon he had
escaped from in order to marry his childhood sweetheart. The
violence and rawness of the pictures (a gun on his belt and a syringe hanging from his arm, as he became a heroin addict during
his European adventure) dont prevent the core of the plot to be
about his upcoming marriage, which creates humor in a seemingly infertile context for it, and boosts our empathy towards the
lead character. After all, hasnt romantic comedies been the ones
that taught us how love is the cure for all evils? FEJL

Mahdi Fleifel
Naci en Dubai, y creci en un campo de refugiados palestinos del Lbano y luego en Dinamarca. Vive en msterdam, y se gradu en la Escuela
Nacional de Cine y TV de Londres. Realiz varios cortometrajes y dirigi
el largo A World Not Ours (2012; Bafici 13).
He was born in Dubai, and grew up in a Palestine refugee camp in Lebanon, and later in Denmark. He lives in Amsterdam, and he graduated from
the National Film and Television School in London. He made many shorts
and the feature A World Not Ours (2012; Bafici 13).

118

Reino Unido / Palestina / Lbano / Holanda - UK / Palestine /


Lebanon / Netherlands, 2016 / 30 / DCP / Color / rabe - Arabic
D, F: Mahdi Fleifel E: Michael Aaglund S: Dario Swade
P: Patrick Campbell, Mahdi Fleifel PE: Patrick Campbell, Mahdi Fleifel
CP: Nakba FilmWorks
Contacto / Contact
3.14*Collectif
T +1 514 840 8486
E sarah@314collectif.com
W 314collectif.com/film/a-man-returned/

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia argentina de cortos


argentine short films competition

argentine short films competition

317-322
Cuando sent que mi intimidad era invadida por un vecino que
miraba desde su balcn, decid pagarle con la misma moneda
y empec a filmarlo. De noche y de da registr sus movimientos. Un da, en la calle, vi que caminaba hacia m. No pude
esquivarlo. Al cruzarnos, nuestras manos se rozaron.
When I felt my intimacy was being invaded by a neighbor who
watched me from his balcony, I decided to give him a taste
of his own medicine and started filming him. Day and night,
I recorded his every move. One day, on the street, I saw him
walking towards me. I couldnt dodge him. When we crossed
each other, our hands brazed.
Ariela Bergman
Naci en Buenos Aires en 1984. Estudi diseo de imagen y sonido
en la UBA. Su trabajo en el cine se ubica entre el videoarte y el cine
de ensayo.

Argentina, 2016
22 / DM / Color
Espaol - Spanish
D, G, F, E, S, P, PE: Ariela Bergman I: Ariela Bergman,
Tamara Bergman, Nicols Mauceri
Contacto / Contact
Ariela Bergman
T +54 9 11 5109 3760
E ariela.bergman@gmail.com

She was born in Buenos Aires in 1984. She studied image and sound
design at the UBA. Her work moves around video art and essay films.

Adis a las ciudades Ep 1:


Carta para mis amigas
Goodbye Cities. Ep. 1: Letter for my Friends
Una joven est por revelar sus perturbadores secretos al anunciarles a sus congneres su decisin de experimentar el mundo hasta la fractura.
A young woman is about to reveal her disturbing secrets by
announcing her fellow women her decision to experience the
world up to a breaking point.
Sebastin Prez Opack
Naci en Buenos Aires en 1978, y se cri en Ro Gallegos. Estudi filosofa y letras en la UBA. Actualmente vive en Berln.
He was born in Buenos Aires in 1978, and grew up in Ro Gallegos. He
studied philosophy and literature at the UBA. He currently lives in Berlin.

120

Argentina / Alemania - Argentina / Germany, 2016


13 / DM / Color
Espaol - Spanish
D, G, F, E, DA: Sebastin Prez Opaak S: Lautaro Aichenbaum
M: Wolfgang Voigt, Alva Noto P: Sebastian Prez Opacak,
Ivo Aichenbaum PE: Ivo Aichenbaum CP: URSA Estudio
I: Mara Elena Guerra Aredal, Isabelle Philippe
Contacto / Contact
URSA Estudio. Ivo Aichenbaum
T +54 11 5737 5612
E ivoaichen@gmail.com
W ursaestudio.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia argentina de cortos


PREMIERE MUNDIAL / WORLD PREMIERE

Berln
Berlin
Julin y Clara esperan un pedido para llevar en la barra de una
parrilla, mientras fuman y conversan. Al da siguiente, uno de
ellos dejar el pas. El tiempo que pasa hasta que el pedido sea
entregado es todo el tiempo que les queda juntos.
Julin and Clara wait for a take-away order at a restaurant,
while they smoke and talk. The day after, one of them will leave
the country. The time until their order is given to them is all the
time they have left to be together.
Luciano Salerno
Naci en Buenos Aires en 1989. Estudi artes audiovisuales en la UNA,
y dirigi tres cortometrajes.
He was born in Buenos Aires in 1989, and studied Audiovisual Arts in
UNA. He directed three short films.

El mes del amigo

Argentina, 2016 / 8 / DCP / Color


Espaol - Spanish
D, G, PE: Luciano Salerno F: Francisco Bouzas E: Josefina Llobet
DA: Tatiana Maz, Joaqun Maito S: Hernn Higa
M: Maxi Prietto P: Sol Inzillo, Martn Guevara CP: NNM Cine
I: Malena Villa, Pablo Sigal
Contacto / Contact
NNM Cine. Luciano Salerno
T +54 9 11 6160 5103
E salerno_89@yahoo.com.ar
W facebook.com/nnm.cine ~ facebook.com/cortometrajeberlin

PREMIERE MUNDIAL / WORLD PREMIERE

The Friends Month


Mientras acepta la difcil idea de separarse de su novio,
Emilia se muda a un departamento del centro. Entre cajas y
cosas embaladas, casi por azar, comienza a vivir la vida de
la antigua inquilina.
While dealing with a breakup, Emilia moves to a downtown
apartment. Between boxes and packages, she almost randomly starts living the life of the former tenant.
Florencia Percia
Naci en Buenos Aires en 1984, y es licenciada en Cinematografa
por la Universidad del Cine. Actualmente se encuentra realizando su
primer largometraje.
She was born in Buenos Aires in 1984, and majored in Cinematography at
Universidad del Cine. She is currently making her first feature-length film.

Argentina, 2016
17 / DCP / Color
Espaol - Spanish
D, G, PE: Florencia Percia F: Lucio Bonelli E: Wenchi Bonelli,
Florencia Percia DA: Ana Cambre S: Marcos Canosa
P: Mercedes Crdova, Valeria Forster CP: Brava Cine,
Universidad del Cine I: Valeria Correa, Adriano Salgado
Contacto / Contact
Brava Cine. Florencia Percia
T +54 9 11 5562 2932
E perciaflorencia@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

121

argentine short films competition

Error 404

PREMIERE MUNDIAL / WORLD PREMIERE

En una empresa, el jefe y sus empleados trabajan prestando


atencin solamente a los monitores de sus computadoras. De
repente se corta Internet, y la empresa entra en crisis cuando
los trabajadores comienzan a conectarse con otras cosas que
no son sus pantallas.
A companys boss and his employees only pay attention to
their computer screens. Suddenly, the Internet connection goes
down, and the company gets into a crisis when the workers
start connecting with things other than their monitors.
Mariana Wainstein
Naci en Buenos Aires en 1981. Se recibi de diseadora de imagen
y sonido en la UBA. Trabaj en el rea de direccin con reconocidos
directores, como Damin Szifron y Francis Ford Coppola.
She was born in Buenos Aires in 1981. She majored in Image and
Sound Design at the UBA. She worked in film direction with renowned
filmmakers such as Damin Szifron and Francis Ford Coppola.

Historia del agua

Argentina, 2016
13 / DM / Color
Espaol - Spanish
D, G: Mariana Wainstein F: Matas Nicols E: Javier Falchi,
Mariana Wainstein DA: Juan Cavia S: Nicols Chudnovsky
M: Gabriel Chwojnik P: Sol Aramburu PE: Fabin Zayat
CP: Gloria Films I: Julieta Zylberberg, Iair Said, Walter Jakob,
Paula Grinszpan, Katia Szechtman, M. Alarcon, M. F. Callejn
Contacto / Contact
Mariana Wainstein
T +54 9 11 3043 0204
E mariwain@gmail.com
W mariwain.com.ar

PREMIERE MUNDIAL / WORLD PREMIERE

Water Story
Lo que pasa en un pueblo en el que conviven dos amigos, las
Fuerzas Armadas y un hombre que trabaja en el bosque.
What happens in a town where two friends, the Armed Forces
and a man who works in the woods all coexist.
Simn Vlez lpez
Naci en Medelln, Colombia, en 1990. Estudi direccin de cine en la
Universidad del Cine. Dirigi el corto Por ver la luz en tus pupilas, deca
mordicante el rprobo (Bafici 15).
He was born in Medelln, Colombia, in 1990. He studied filmmaking at
Universidad del Cine. He directed the short film Por ver la luz en tus
pupilas, deca mordicante el rprobo (Bafici 15).

Argentina / Colombia, 2016


13 / DCP / Color
Espaol - Spanish
D, F, P, PE: Simn Vlez Lpez G: Simn Vlez Lpez,
Juan Lugo Quebrada E: Juan Sebastin Quebrada S: Tatiana Frean
CP: Soda, Montaero Cine, Universidad del Cine
I: Juan Lugo, Variel Snchez, Juan de Dios
Contacto / Contact
Soda. Simn Vlez
T +54 9 11 2305 1626
E simonvelezlopez@gmail.com

122

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia argentina de cortos

Hola a los fiordos!

PREMIERE MUNDIAL / WORLD PREMIERE

Hello to the Fjords!


La geografa imponente del continente americano atestigua el
recorrido de un buque de pasajeros por aguas australes.
The stunning geography of the American continent is a witness
to the path of a passenger boat through Southern waters.
Alex Piperno
Naci en Montevideo en 1985, y estudi en la Universidad del Cine.
Dirigi dos cortometrajes.
He was born in Montevideo in 1985, and studied at Universidad del
Cine. He directed two short films.

Argentina / Uruguay, 2016


12 / DCP / Color
D, G, E, P, PE: Alex Piperno F: Andrs Aguil S: Lucas Larriera
CP: La Pobladora Cine, Ciudades Subterrneas I: Setiawan Jeje
Tempo, Muhtarwin Efendi
Contacto / Contact
La Pobladora Cine. Alex Piperno
T +54 9 11 6244 3307
E pipernoalex@gmail.com
W lapobladoracine.com

Julieta se queda dormida

PREMIERE MUNDIAL / WORLD PREMIERE

Julieta Falls Asleep


Julieta cuenta una historia dos veces. Ambas versiones difieren muy poco. En una plaza Julieta es fotografiada. En el cuarto
del fotgrafo, Julieta, desnuda, pretende dormir, esperando a
que l vaya al bao (o a hacer un caf) para vestirse rpido,
en un segundo.
Julieta tells a story twice. The two versions have very slight
differences. Julieta gets photographed in a park. In the photographers room, Julieta is naked, pretending to sleep, and
waiting for him to go to the bathroom (or to make coffee), so
she can get dressed quickly, in a second.
Dante De Luca
Naci en Buenos Aires en 1992. Estudi en la Universidad del Cine.
Actualmente escribe el guion de su primer largometraje.
He was born in Buenos Aires in 1992. He studied at Universidad del
Cine. Hes currently writing the script for his first feature-length film.

Argentina, 2016
11 / DM / Color
Espaol - Spanish
D, G, E: Dante De Luca F: Luis Celedn DA: Paloma Ioli
S: Lucas Busso P, PE: Alexan Sarikamichian CP: Universidad Del Cine,
Alexan Films I: Martina Juncadella, Luciano Borges, Luca De Luca
Contacto / Contact
Alexan Films
T +54 9 11 5720 6913
E alexan3786@hotmail.com
W alexan.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

123

argentine short films competition

(La fbrica de tortas)


Pastel de cereza

PREMIERE AMERICANA / AMERICAN PREMIERE

(The Cake Factory) Cherry Pie


Sofa tiene 16 aos, le gusta hablar con su hermana mayor
y fumar a escondidas. A Lujn, su mejor amiga, le gustan el
caf negro y las galletitas de manteca, y tiene novia. Pero una
noche Sofa besa a una chica, y a Lujn la invaden el amor y la
certeza de que enamorarse no es una opcin.
Sofa is sixteen years old; she likes talking with her older sister
and smoke in hiding. Lujn, her best friend, likes black coffee
and butter cookies, and she has a girlfriend. But one night,
Sofa kisses a girl, and Lujn is overwhelmed by love, and the
notion that falling in love is not an option.
Jessica Praznik
Naci en Buenos Aires en 1987. Estudi realizacin audiovisual en la
Universidad Nacional del Arte y es diseadora de indumentaria.
She was born in Buenos Aires in 1987. She studied audiovisual directing
at the Universidad Nacional del Arte, and works as a fashion designer.

La reina del baile

Argentina, 2016
16 / DM / Color
Espaol - Spanish
D: Jessica Praznik G: Pepa Astelarra F: Luciana Favit
E: Augusto Gonzalez Polo DA: Mariana Point S: Mariana Point,
Alex Cubides, Ernesto Meier M: Mariana Point, Ramiro Jota
P: Jessica Praznik, Christian Romero PE: Roco Gort
CP: Oro Elctrico Producciones I: Naiara Awada, Malena Villa,
Carla Bilancieri, Ailn Zaninovich
Contacto / Contact
Oro Elctrico Producciones. Gisela Chicolino
T +54 9 11 5181 1740 E filmstofestivals@gmail.com
W facebook.com/oroelectricoproducciones
facebook.com/thetortasfactory

PREMIERE MUNDIAL / WORLD PREMIERE

Dancing Queen
Vctor es un presentador de karaoke al que la rutina lo tiene
mal. Nada parece motivarlo: ni sus amigos ni su trabajo, y mucho menos su matrimonio con Liliana. Pero lo que busca est
mucho ms cerca de lo que parece.
Vctor is a karaoke host affected by the routine. Nothing seems
to motivate him: nor his friends nor his work, and certainly not
her marriage with Liliana. But what shes looking for is closer
than it seems.
Martn Holzman
Naci en Buenos Aires en 1993. Se gradu en la ORT en la orientacin
de medios de comunicacin, y luego estudi direccin de cine en la
FUC. Su primer corto fue El sueo del pibe.
He was born in Buenos Aires in 1993. He graduated from ORT with an
orientation in media, and later studied filmmaking at the FUC. His first
short film was El sueo del pibe.

124

Argentina, 2016
12 / DM / Color
Espaol - Spanish
D, G: Martn Holzman F: Sebastin Cantillo E: Toms Maumus
DA: Natalia Chiacchiari S: Ana Mandelbaum, Lucio Fontana
P, PE: Martn Busel CP: Emboscada, Universidad del Cine
I: Fabin Arenillas, Mirta Wons, Pedro Di Salvia, Lucila Tolcachier,
Martn Piroyansky
Contacto / Contact
Emboscada. Martn Busel
T +54 9 11 6714 2967
E martinbusel@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia argentina de cortos

Las imgenes de Helena

PREMIERE MUNDIAL / WORLD PREMIERE

Helens Images
Una mujer abandonada, su cuerpo angustiado y la tristeza disimulada. Esta es una historia contada en dos contextos histricos
distintos, que conviven y ponen en evidencia la brecha entre las
posibilidades socioculturales de la mujer en 1890 y en 1970.
An abandoned woman, her anguished body, and her disguised
sadness. This is a story told in two different historical contexts,
which coexist and demonstrate the gap in opportunities for
women in 1890 and 1970.
Andrea Santamara
Estudi en la Universidad del Cine en Buenos Aires y se especializ en
efectos especiales en los Escape Studios en Londres. Dirigi el cortometraje Tres (2005), y fue una de las directoras del largometraje A
propsito de Buenos Aires (Bafici 06).
She studied at Universidad del Cine in Buenos Aires and specialized in
special effects at the Escape Studios in London. She directed the short
film Tres (2005), and was one of the directors of the collective film A
propsito de Buenos Aires (Bafici 06).

Los das felices

Argentina, 2016
15 / DCP / Color
Espaol - Spanish
D, G, E: Andrea Santamara F: Andrs Aguil
DA: Micaela Bellani S: Francisco Pedemonte
P: Florencia Clrico, Andrs Larriera I: Sabrina Grinschpun,
Jimena del Pozo, Graciela Borges, Walter Saettone
Contacto / Contact
Hasta 30 Minutos. Luciana Abad
T +54 9 11 6455 4130
E hasta30minutos@gmail.com

PREMIERE AMERICANA / AMERICAN PREMIERE

The Happy Days


Luca y Juan deciden pasar el da en un lago con sus cuatro
nios. Abstrados en sus diferencias, ninguno de los dos advierte la ausencia de una de sus hijas. Comienza entonces una
bsqueda desesperada.
Luca and Juan decide to spend a day in a lake with their four
children. Concentrated in their differences, neither of them notices one of their daughters is missing. A desperate search begins.
Agostina Guala
Naci en Ro Negro, Argentina, en 1984. Estudi en la Universidad del
Cine, donde realiz numerosos cortometrajes. Trabaj como ayudante
de direccin en varios films nacionales e internacionales.
She was born in Ro Negro, Argentina, in 1984. She studied at Universidad del Cine, where she directed several short films. She worked as an
assistant director in many local and foreign films.

Argentina, 2016
15 / DM / Color
Espaol - Spanish
D, G: Agostina Guala F: Alejo Maglio E: Ignacio Guala
S: Adriano Salgado, Lucas Larriera M: Federico Britos
P: Agostina Guala, Daniela Martnez Nannini, Martn F. Lapissonde
PE: Daniela Martnez Nannini, Martn F. Lapissonde CP: Macaco Films,
Mil Grullas Cine I: Celina Carbajal, Iaki Moreno
Contacto / Contact
Mil Grullas Cine, Macaco Films. Daniela Martnez Nannini
T +54 9 11 5845 7214 E danielamartineznannini@gmail.com
W milgrullascine.com ~ macacofilms.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

125

argentine short films competition

Manifiesto de amor

PREMIERE MUNDIAL / WORLD PREMIERE

Love Manifesto
En el registro crudo de una charla banal de pareja , a travs de
los gestos cotidianos, aparece de pronto un reclamo de cario.
A raw record of a couple having a superfluous conversation,
until suddenly a demand for affection emerges through everyday gestures.
Marlene Lievendag
Naci en Buenos Aires en 1966. Estudi direccin de arte en la Universidad de Nueva York. Hace veinte aos que trabaja como directora
de arte en cine y televisin.
She was born in Buenos Aires in 1966. She studied Art Direction at NYU.
She has been working as an art director in film and TV for twenty years.

Argentina, 2016
10 / DM / Color
Espaol - Spanish
D, G, F, S, P: Marlene Lievendag E: Carolina Grgurevic
I: Pedro Saborido, Sofa Saborido, Dante Saborido,
Marlene Lievendag
Contacto / Contact
Marlene Lievendag
T +54 9 11 6176 5275
E marlenearte@gmail.com

No hay bestias
The Cry of the Oxen
A travs del tiempo, un grupo de desconocidos se encuentra
rodeado por una atraccin inexplicable por la naturaleza.
A group of strangers find themselves surrounded by an inexplicable attraction towards nature throughout time.
Agustina San Martn IV
Naci en Buenos Aires en 1991. Estudi diseo de imagen y sonido en
la UBA, y realiz varios trabajos como directora de fotografa, como en el
cortometraje Lo que dicen del monte, ganador del Bafici 14.
She was born in Buenos Aires in 1991. She studied image and sound
design at the UBA, and worked as a cinematographer for several projects,
including the short film Lo que dicen del monte, winner of Bafici 14.

Argentina, 2016
22 / DCP / Color
Espaol - Spanish
D, G: Agustina San Martn IV F, PE: Constanza Sandoval
E: Renata Miranda, Agustina San Martn IV DA: Agustn Ravotti
S: Octvio Tavares P: Beln Bianco CP: Presencia Cine
I: Mnica Leal, Pablo G. Fernndez, Guillermina Ojeda,
Andrea Ojeda, Rubn Ruiz
Contacto / Contact
Presencia Cine. Agustina San Martn
T +54 11 6706 3308
E info@filmstofestivals.com

126

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

competencia argentina de cortos

Perfume para cuatro

PREMIERE MUNDIAL / WORLD PREMIERE

Four Ladies, One Perfume


Tres hermanas estn en su casa por la noche. Como de costumbre, su madre avisa que no va a llegar y les asigna tareas.
Pero esta vez todo ser diferente.
Three sisters are at home at night. As usual, their mother lets
her know she wont be back home in time and assigns chores
for each. But this time everything will be different.
Ins Villanueva
Naci en Buenos Aires en 1993. Estudi direccin cinematogrfica en
la Universidad del Cine. Dirigi los cortos Joaquina siempre (2012), As
somos sin Serena (Bafici 14) y El rastro.
She was born in Buenos Aires in 1993. She studied filmmaking at Universidad del Cine. She directed the short films Joaquina siempre (2012),
As somos sin Serena (Bafici 14) and El rastro.

Argentina, 2016
8 / DM / Color
Espaol - Spanish
D, G, E: Ins Villanueva F: Luis J. Celedn DA, PE: Pablo Fernndez
S: Javier Fernndez Jensen P: Pablo Fernndez, Juan Iastrebner
CP: Naiz Films, Universidad del Cine I: Teresa Salomn,
Clara Villanueva, Ins Villanueva
Contacto / Contact
Naiz Films. Ins Villanueva
T +54 9 11 5579 3828
E ine.villanueva@hotmail.com
W naizfilms.com

Silencio antes
Before Silence
Al final de la tarde, dos cuerpos sin vida flotan en la orilla de la
laguna. Ellos han quedado congelados en el gesto invisible de
los que ya no estn aqu.
At dusk, two lifeless bodies float on the shore of the lagoon.
They have been frozen with the invisible gesture of those who
are gone.
Mercedes Gaviria
Naci en Medelln, Colombia, en 1992, y estudi direccin de cine en la
Universidad del Cine de Buenos Aires. Tambin se form como sonidista, y realiz la edicin de sonido de varios largos.
She was born in Medelln, Colombia in 1992, and studied filmmaking
at Universidad del Cine in Buenos Aires. She also trained as a sound
designer and worked on several films as a sound editor.

Argentina / Colombia, 2016


10 / DCP / Color
Espaol - Spanish
D, G, S: Mercedes Gaviria F: Mauricio Reyes Serrano
E: Laura Valderrama DA: Juana Varela M: Sergio Andrs Velsquez
P: Julen Laburu PE: Mara Florencia Palombo, Mercedes Gaviria
CP: Universidad del Cine, Alcalda de Medelln, Elhecho Cine
I: Fernando Acosta, Marisa Grieber, Pablo Toporosi
Contacto / Contact
Elhecho Cine. Mercedes Gaviria
T +54 9 11 3412 2324
E elhechocine10@gmail.com
W facebook.com/cortometrajesilencioantes

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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argentine short films competition

Un ejercicio para no olvidar

PREMIERE MUNDIAL / WORLD PREMIERE

An Exercise to Never Forget


Cristian es un joven actor que tiene problemas para distinguir
entre la fantasa y la realidad. Mientras espera a su novia en un
bar, comienzan a aparecer en su mente los recuerdos de su relacin y la misteriosa figura de un hombre nacido en Paraguay
a principios del siglo XX.
Cristian is a young actor who has trouble distinguishing fantasy from reality. While he waits for her girlfriend in a bar, his
mind delves in the memories of his relationship and the mysterious figure of a man born in Paraguay in the early years of
the 20th century.
Gabriel Bosisio
Naci en Buenos Aires en 1987. Debut como director con La nia
elefante, serie web ganadora de la Bienal de Arte Joven 2015.
He was born in Buenos Aires in 1987. His directorial debut, the web
series La nia elefante, won the 2015 Youth Art Biennale.

Yolanda

Argentina, 2016
17 / DM / Color & B&N
Espaol - Spanish
D: Gabriel Bosisio G: Ain Bosisio, Gabriel Bosisio
F: Luciano Badaracco E: Julian Vey DA: Isabelle Siegrist
S: Federico Abuaf, Ignacio Cruz M: Federico Abuaf
P: Gabriel Bosisio, Malena Kremenchusky CP: Catnap
I: Malena Villa, Gabriel Bosisio, Cristian Ciminnelli, Agustina
Gutirrez, Evert Romero
Contacto / Contact
Catnap. Gabriel Bosisio
T +54 9 11 579 4084
E bosisio.gabriel@gmail.com W catnapcine.com

PREMIERE MUNDIAL / WORLD PREMIERE

Agustn regresa al universo de Yolanda, su profesora de ingls


de la infancia. Un espacio en el que el tiempo se suspende en
los recuerdos, pero no se detiene.
Agustn returns to the universe of Yolanda, his English teacher
when he was a kid. A place where time suspends memories,
but doesnt stop.
Agustn Burghi
Naci en Saladillo en 1990, y egres de la ENERC. Dirigi el corto
Viernes 20:15 (Bafici 14).
He was born in Saladillo in 1990, and graduated from ENERC. He directed the short film Viernes 20:15 (Bafici 14).

128

Argentina, 2016 / 17 / DCP / Color


Espaol / Ingls - Spanish / English
D, P, PE: Agustn Burghi F: Javier Gonzlez Tun E: Florencia Tissera
S: Sofa Straface I: Adelfa Yolanda Segura de Mariotto, Agustn Burghi
Contacto / Contact
Agustn Burghi. Agustn Burghi
T +54 9 11 6152 0686
E agustinburghi@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

muestra argentina de cortos


argentine short films exhibition

argentine short films exhibition

Aviso fnebre

PREMIERE MUNDIAL / WORLD PREMIERE

Funeral Notice
Ocho televidentes de un noticiero recuerdan sus experiencias
cuando eran parte de las transmisiones que ahora consumen.
Eight fans of a TV news show remember their experiences
back when they were part of the broadcasts they now watch.
Melisa pa Gammarota
Naci en Buenos Aires en 1987. Estudi publicidad en la Universidad
del Salvador y luego direccin en la Universidad del Cine.
He was born in Buenos Aires in 1987. He studied advertising at Universidad del Salvador and later filmmaking at Universidad del Cine.

Camarn

Argentina, 2016 / 12 / DM / Color / Espaol - Spanish


D, G: Melisa Pa Gammarota F: Agustn Intile Noble
E: Daniela Benedetti DA: Melisa Pa Gammarota,
Nicols Videtta Bunge S: Ciro Zumel P, PE: Sonia Stigliano
CP: Universidad del Cine I: Federico Starke,
Giovanna di Vicenzo, Martn Odstrcil, Bruno Murase, Elas Saieg

PREMIERE MUNDIAL / WORLD PREMIERE

Dressing Room
Detrs de escena, algunas juegan a no ser ellas por un rato. El
amor trgico, el agua hirviendo. Se sube el teln.
Behind the scene, some of them play a game of not being
themselves for a while. Tragic love, and water boiling. The curtain rises.
Natasha Gurfinkel
Naci en Buenos Aires en 1992, y estudi direccin en la Universidad
del Cine de Buenos Aires.
She was born in Buenos Aires in 1922, and studied filmmaking at Universidad del Cine in Buenos Aires.

Argentina, 2016 / 17 / DM / Color / Espaol - Spanish


D, G: Natasha Gurfinkel F: Ignacio Aveill E: Ignacio Sesma,
Natasha Gurfinkel DA: Carolina Canalis S: Sofa Lewkowicz
M: Ignacio Sesma P: Natasha Gurfinkel, Malena Vain
PE: Malena Vain CP: Universidad del Cine I: Vera Spinetta,
Nicols Goldschmidt, Mnica Gonzaga, Mila Marchisio
Contacto / Contact
Universidad del Cine
T +54 11 4300 1413
E ucine@ucine.edu.ar
W ucine.edu.ar

130

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

muestra argentina de cortos

Carta 12, Praga.

PREMIERE MUNDIAL / WORLD PREMIERE

Letter 12, Prague.


Ensayo que busca una sntesis entre literatura, cine y puesta
en escena. La voz de Isabella gua un relato que deja a la ficcin dar cuenta de lo cierto: en lo que ella ve y cuenta laten en
la historia real y la memoria del lugar.
An essay that aims at a synthesis of literature, film, and mise
en scne. Isabellas voice leads the way in a story where fiction
tells the truth: the real history and the memory of that place
breathes in what she sees and narrates.
Vera Czemerinski
Naci en Buenos Aires en 1972, y es actriz. Es egresada de la Escuela
de Dramaturgia de la EAD. Actualmente trabaja en produccin, periodismo, como actriz y cantante.
She was born in Buenos Aires in 1972. An actress graduated from the
EAD Playwriting School, she currently works in production, journalism,
and as both actress and singer.

Argentina, 2016 / 10 / DM / Color / Espaol - Spanish


D, G, DA, P, PE, I: Vera Czemerinski F: Robert Newald E: Javier Luna
S: Jos Luis Daz M: Miguel de Olaso CP: Los Viajes de Isabella
Contacto / Contact
Los Viajes de Isabella. Vera Czemerinski
T +54 9 11 5974 7500
E veczeme@gmail.com
W impresionesextranjeras.blogspot.com.ar

PREMIERE MUNDIAL / WORLD PREMIERE

Clara
Claire
Clara vuelve a Buenos Aires. Algo sali mal en otro lugar. Un
monoambiente, una comunidad de entraables vecinos y un
perro callejero sern su nuevo hogar.
Clara returns to Buenos Aires. Something went wrong somewhere else. A studio apartment, a community of nice neighbors, and a stray dog will all become her new home.
Laura Huberman
Naci en Buenos Aires en 1986, y estudi en la Universidad del Cine.
Es directora y productora. Clara es su segundo cortometraje.
She was born in Buenos Aires in 1986, and studied at Universidad del
Cine. Shes a director and producer. Clara is her second short film.

Argentina, 2016 / 18 / DM / Color / Espaol - Spanish


D, G: Laura Huberman F: Joaqun Neira E: Constanza Curia
DA: Lucia Carnicero S: Nicols Payueta M: Nicols Villamil
P: Melanie Schapiro, Laura Huberman PE: Melanie Schapiro
CP: Laura cine I: Jimena Anganuzzi, Mariano Sayavedra,
Susana Varela, Mario Bodega, Renzo Cozza, Ana Katz
Contacto / Contact
Laura cine
T +54 9 11 3966 6808
E info@lauracine.com
W lauracine.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

131

argentine short films exhibition

Continue

PREMIERE MUNDIAL / WORLD PREMIERE

Luego de una ruptura, Ana guarda todo su pasado en una valija


roja y se marcha con sus viejos rollers. En el momento en que
est tironeando de su pesada valija, sin darse cuenta, comienza a enfrentarse al futuro incierto que la est esperando.
Following a breakup, Ana puts her entire past in a red suitcase
and leaves on her old roller skates. While shes pulling her
heavy suitcase around, and without noticing it, she will start
facing the uncertain future that awaits her.
Sheuen Mondelo
Naci en Ro Gallegos en 1988, y actualmente vive en La Plata. Estudi fotografa, diseo de indumentaria y diseo en comunicacin
visual en la UNLP.
She was born in Ro Gallegos in 1988, and currently lives in La Plata.
She studied photography, fashion design, and visual communication
design at the UNLP.

De cmo Daniel...

Argentina, 2016 / 11 / DM / Color / Espaol - Spanish


D, G, E, PE: Sheuen Mondelo F: Leslie Truyenque DA: Ayeln
Gaudin S: Rafael Kielling M: Sebastin Rulli, Lucas Taubet
P: Selene Mondelo I: Mara del Mdico, Ana Paula Csar
Contacto / Contact
FilmsToFestivals. Gisela Chicolino
T +54 9 11 5181 1740
E filmstofestivals@gmail.com
W filmstofestivals.com

PREMIERE MUNDIAL / WORLD PREMIERE

Of How Daniel...
Daniel es un colombiano que vive en Buenos Aires, le gusta
dormir hasta tarde y es fantico de YouTube. En su trabajo
conoce a Agustina, una chica argentina a la que no le gusta
dormir hasta tarde pero comparte el entusiasmo de Daniel por
dicha pgina ciberntica.
Daniel is a young Colombian man living in Buenos Aires; he
likes to sleep late and watch YouTube videos. At his job, he
meets Agustina, an Argentine girl who doesnt like to sleep, but
shares his enthusiasm for that website.
Daniel Korgi
Naci en Cali, Colombia, en 1989. Estudi direccin de cine en la Universidad del Cine en Buenos Aires.
He was born in Cali, Colombia, in 1989. He studied filmmaking at Universidad del Cine in Buenos Aires.

132

Argentina / Colombia, 2016 / 20


DM / Color / Espaol - Spanish
D, G, E, PE: Daniel Korgi DA: Florencia Gemsio
S: Juan Sebastin Mora P: Daniel Korgi, Hans Fressen,
Juan Sebastin Mora CP: Universidad del Cine
I: Daniel Korgi, Agustina Ferrari
Contacto / Contact
Daniel Korgi
T +57 31 5852 1013
E danikorgi@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

muestra argentina de cortos

Deportivo Espaol

PREMIERE MUNDIAL / WORLD PREMIERE

Cuerpos que transitan el camino de la danza. Colores, brillos,


el estallido de la msica. Hombres y mujeres reunidos para
celebrar el movimiento en un espacio que los alberga. Dos
pases. Un club y una zona que se extiende para que los ojos
encuentren la meloda de las formas.
Bodies moving through the path of dance. Colors, sparkles,
and music bursting. Men and women gather to celebrate
movement in a place that welcomes them. Two countries. A
club and an area that extends so their eyes meet with the
melody of the forms.
Ignacio Verguilla
Naci en Buenos Aires en 1975, y se gradu como realizador en el Cievyc.
Curs estudios de letras y fotografa, y es docente en Andamio 90.

Argentina, 2016 / 11 / DM / Color / Espaol - Spanish


D, G, F, E: Ignacio Verguilla S: Pablo Sala P: Anbal Perotti,
Gabriel Smaniotto, Ignacio Verguilla, Fabin Roberti
Contacto / Contact
Ignacio Verguilla
T +54 11 5933 0094
E iverguilla@yahoo.com.ar

He was born in Buenos Aires in 1975, and majored in filmmaking at


Cievyc. He studied literature and photography, and works as a teacher
in Andamio 90.

El coral que
trajimos de Brasil

PREMIERE MUNDIAL / WORLD PREMIERE

The Coral We Brought from Brazil


El pintor Guillermo Roux y su mujer ven por primera vez en
una computadora porttil, despus de 45 aos, un registro
en 16mm que crean perdido. El material fue realizado en la
misma casa donde viven actualmente por el cineasta Simn
Feldman durante el verano de 1968 o 1969.
Artist Guillermo Roux and his wife watch 16mm footage they
thought to be lost for the first time in 45 years, in a laptop
computer. The material was shot in the same house where
they live today by filmmaker Simn Feldman during the summer of 1968 or 1969.
Martn Serra
Naci en Buenos Aires en 1972, y estudi en la Universidad del Cine.
Realiz varios cortos, como 23 veranos (2006) y La vida en un da (2011).

Argentina, 2016 / 29 / DCP / Color / Espaol - Spanish


D, E: Martn Serra G: Rodolfo Martnez Mendoza, Martn Serra
F: Soledad Rodrguez S: Fernando Soldevila P: Noem De Palma,
Martn Serra PE: Mario E. Levit CP: Rueque Cine, Cruz del Sur Cine,
Universidad del Cine I: Franca Beer, Guillermo Roux
Contacto / Contact
Cruz del Sur Cine. Martn Serra
T +54 9 11 3257 5614
E mserra_cine@hotmail.com
W cruzdelsurcine.com

He was born in Buenos Aires in 1972, and studied at Universidad del Cine.
He directed several short films, including 23 veranos (2006) and La vida
en un da (2011).

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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argentine short films exhibition

El familiar

PREMIERE AMERICANA / AMERICAN PREMIERE

The Familiar
Narra el mito del perro familiar, un diablico ser que se devoraba a los reacios trabajadores del Ingenio Santa Ana, en Tucumn, cuando estos se quejaban de sus condiciones de trabajo.
The myth of the family dog, a diabolic being that used to
devour the reluctant workers of the Santa Ana sugar factory
when they complained about their work conditions.
Franco Lescano Noriel
Naci en Mar del Plata en 1989, y en 2010 decidi viajar a Tucumn
para estudiar cine. Dirigi dos series para la Televisin Digital Abierta.
He was born in Mar del Plata in 1989, and in 2010 decided to travel
to Tucumn to study filmmaking. He directed two series for Open
Digital Television.

El final

Argentina, 2015 / 26 / DM / Color / Espaol - Spanish


D, DA, P: Franco Lescano Noriel G: Franco Lescano Noriel,
Guillermo del Pino F: Gerardo Garca E: Flavio Aguilera
S: Ruido Rosa M: Gastn Delicio PE: Martin Falci,
Natalia Occhionero CP: Anaconda Producciones, 47 Planos
I: Roberto Pucci, Arturo Lastra, Hortencia Castillo
Contacto / Contact
Anaconda Producciones. Franco Lescano Noriel
T +54 9 11 3241 2595
E francolnoriel@gmail.com

PREMIERE MUNDIAL / WORLD PREMIERE

The End
Un grupo de evangelistas compra una de las monumentales
salas de cine de la Ciudad de Buenos Aires. Hacen algunas
reformas y convierten el templo pagano en una iglesia de Dios.
Las puertas se abren para recibir a sus seguidores.
A group of evangelists buys one of Buenos Aires monumental
film theaters. They carry out some reforms and turn that pagan
temple into a church of God. The doors are open to welcome
their followers.
Juan Schmidt
Naci en Buenos Aires en 1978. Estudi diseo de imagen y sonido en la
UBA. Dirigi los largometrajes Polvareda (2013) y Los monstruos (2014).
He was born in Buenos Aires in 1978. He studied image and sound design
at the UBA. He directed Polvareda (2013) and Los monstruos (2014).

134

Argentina, 2016 / 11 / DM / Color / Espaol - Spanish


D, G, E, S, P: Juan Schmidt F: Juan Schmidt, Alexis Bianchi,
Nicols Mattiangeli CP: Monstruo Producciones
Contacto / Contact
Monstruo Producciones. Juan Schmidt
T +54 9 11 5644 6685
E monstruoprod@gmail.com
W vimeo.com/juanschmidt

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

muestra argentina de cortos

El hombro de Sbaraglia

PREMIERE MUNDIAL / WORLD PREMIERE

Sbaraglias Shoulder
Diego es un actor que, despus de 10 aos de tratar de sobresalir en el mundo de la actuacin en Nueva York, sigue sus instintos y vuelve a Buenos Aires imaginando un glorioso regreso.
Diego is an actor who spent 10 years trying to make it in New
York, but now he follows his instincts and goes back to Buenos
Aires picturing a glorious return.
Carlos Ledesma
Naci en Avellaneda, pero vive en Nueva York desde el ao 2000. Estudi cine en la Escuela Municipal de Cine de Lomas de Zamora, en New
York University y School of Visual Arts (NYC).
He was born in Avellaneda, but lives in New York since 2000. He studied
film at the Lomas de Zamora Municipal Film School, the New York University and the School of Visual Arts (NYC).

Argentina / Estados Unidos - Argentina / US, 2016


17 / DM / Color / Espaol / Ingls - Spanish / English
D, G: Carlos Ledesma F: Carlos Ledesma, Mecha Fras,
Agustn Figueroa E: Carlos Ledesma, Ins Vogelfang
DA: Josefina Guarracino S: Pablo Orzeszko P: Carlos Ledesma
PE: Carlos Ledesma I: Joaqun Furriel, Carlos Ledesma,
Flix Buenaventura, Iair Said, Leonardo Sbaraglia
Contacto / Contact
Carlos Ledesma
T +1 646 287 5306 E carlosledesmanyc@gmail.com
W mynameiscarlos.com ~ facebook.com/elhombrodesbaraglia

PREMIERE LATINOAMERICANA / LATAM PREMIERE

Galndez
Galindez est basada en la obra El Seor Galndez, escrita por
el psiclogo, dramaturgo, y actor argentino Eduardo Pavlovsky
en 1972. La pelcula toma como locacin el Teatro Payr en
Buenos Aires, donde la obra fue estrenada por primera vez en
enero de 1973.
Galindez is based on the theater play El Seor Galndez, written by Argentine psychoanalyst, playwright and actor Eduardo
Pavlovsky in 1972. The film takes as its setting the Payr Theater in Buenos Aires, in which the play was first released in
January 1973.
Diego Bruno
Naci en 1978 en Argentina. Estudi historia del arte en la Universidad
de Buenos Aires, tiene un BFA de la Escola Massana de Barcelona, y un
MFA de la Finnish Academy of Fine Arts.

Argentina / Finlandia - Argentina / Finland, 2015


22 / DM / Color / Espaol - Spanish
D, G, DA, P, PE: Diego Bruno F: Antti Pohjola
E: Diego Bruno, Ewa Grzna S, M: Mikko Rihl
Contacto / Contact
AV-Arkki
T +358 504 356 092
E distribution@av-arkki.fi
W av-arkki.fi/en

Born in 1978 in Argentina. He studied history of art at the University of


Buenos Aires, holds a BFA from the Escola Massana, Barcelona, and an
MFA from the Finnish Academy of Fine Arts.

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argentine short films exhibition

Helsinki
Fidel vive en Buenos Aires, pero por motivos laborales l y sus
padres debern mudarse a Helsinki, Finlandia. En sus ltimas
semanas en la ciudad comenzar a percibir cierta distancia
tanto con sus amigos como con sus espacios.
Fidel lives in Buenos Aires, but he and his parents will have
to move to Helsinki, Finland due to Fidels job. During his last
weeks in the city, he will start to sense a certain distance with
both his friends and his spaces.
Mauro Movia
Naci en 1983 en Bariloche, Ro Negro, y estudi en la Universidad del
Cine. Dirigi el corto El puesto, que particip en diferentes festivales
internacionales.
He was born in 1983 in Bariloche, Ro Negro, and studied at Universidad
del Cine. He directed the short film El puesto, which was screened in
several international festivals.

La distancia
entre los mdanos

Argentina, 2015 / 18 / DM / Color / Espaol - Spanish


D, G, PE: Mauro Movia F: Sofa Rodrigo E: Mauro Movia,
Sebastin Schajer DA: Mara Andrea Caso
S, M: Damin Campero P: Gonzalo Leiva
CP: Universidad del Cine, Il Gallo Nero, Capataz Cine
I: Fidel Vitale, Martn Bagdadi, Luciana Asad, Melina Lpez
Contacto / Contact
Il Gallo Nero. Mauro Movia
T +54 9 11 6644 0891
E maurommovia@gmail.com

PREMIERE MUNDIAL / WORLD PREMIERE

Distance Between Dunes


En el camino de regreso a la ciudad tras una abrumadora visita
a su abuela enferma, Sofa debe detenerse en un hotel junto
a Nacho y Sandra hasta que el incendio cese. El viento que
arrastra sus cuerpos inertes los conducir hacia habitaciones
cada vez ms silenciosas, refugio para permanecer ocultos a
la mirada infiltrada del otro.
On the way back to the city after an overwhelming visit to her
sick grandmother, Sofa needs to stop in a hotel with Nacho
and Sandra until the fire is over. The wind dragging his inert
bodies will lead them to more and more silent rooms, shelters
to remain hidden from the infiltrated view of the others.
Carla Francolino

Argentina, 2016 / 19 / DM / Color / Espaol - Spanish


D, P, PR: Carla Francolino G: Carolina Lara Grimberg F: Gala Negrello
E: Mayra Ferreyra Basso DA: Melina Gutman S: David Frete
M: Alberto Lucas I: Sofa Efron, Gabriel Bosisio, Mariana Zarnicki
Contacto / Contact
Carla Francolino
T +54 9 11 6057 3000
E carfrancolino@gmail.com

Naci en Buenos Aires en 1992. Estudi diseo de imagen y sonido en


la Universidad de Buenos Aires.
She was born in Buenos Aires in 1992. She studied image and sound
design at the University of Buenos Aires.

136

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

muestra argentina de cortos


PREMIERE MUNDIAL / WORLD PREMIERE

Massamba
Samba es un inmigrante senegals que vive en Buenos Aires.
Su vida transcurre entre la mezquita, la pensin, el rap y la
venta de anteojos. Hace tres aos lucha por crecer econmicamente y cumplir el sueo de convertirse en un cantante famoso. Una oportunidad podra cambiar su suerte y su destino.
Samba is a Senegalese immigrant living in Buenos Aires. His life
passes by amidst the mosque, the pension, rap, and selling eyeglasses. He has been struggling for three years in order to grow
financially and fulfill his dream of becoming a famous singer. And
then, he gets an opportunity that could change his luck and fate.
los Directores / the Directors
Aylee Ibaez es licenciada en Historia del Arte en la Universidad de La
Habana. Milena Amaya trabaj en varios documentales independientes en Buenos Aires. Ana Farini dirigi El oficio y Oh.

Argentina, 2016 / 16 / DM / B&N


Wolof / Espaol - Wolof / Spanish
D, G, DA, P, PE: Milena Amaya, Ana Farini, Aylee Ibaez
F: Milena Amaya E: Javier Aguilar S: Javier Aguilar
CP: Mumbai Films I: Massamba, Gabriel Chwojnik, Angel Frometta
Contacto / Contact
Mumbai Films. Ana Farini
T +54 9 11 4949 1990
E anafarini@yahoo.com

Aylee Ibaez majored in Art History at the University of Havana. Milena Amaya worked in several independent documentaries in Buenos
Aires. Ana Farini directed El oficio and Oh.

Mira cmo te olvido


Watch How I Forget You
Noviembre. Federico viaja 20 das de Bogot a Buenos Aires,
donde se reencuentra con viejas amistades y conoce a Florencia, quien hace que ponga en duda su regreso.
November. Federico travels from Bogota to Buenos Aires for
a 20-days trip, where he reunites with old friends and meets
Florencia, who makes him question about his return.
Mauricio Sarmiento
Naci en Bogot, Colombia, en 1987. Estudi cine y dramaturgia en
Argentina. Dirigi el corto Tres danzas un baile.
He was born in Bogot, Colombia, in 1987. He studied filmmaking and
playwriting in Argentina. He directed the short film Tres danzas un baile.

Argentina / Colombia, 2016 / 14 / DM / Color


Espaol - Spanish
D, G, P, PE: Mauricio Sarmiento F: Mauricio Reyes
E: Sebastin Quebrada DA: Etelvina Ibarbo S: Mercedes Gaviria
M: Carlos Quebrada CP: Montaero Cine I: Luna Acosta,
Sebastin Quebrada, Mario Londoo, Guillermina Pico
Contacto / Contact
Montaero Cine
T +54 9 11 5764 1012
E montanerocine@gmail.com
W montanerocine.com

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137

argentine short films exhibition

Una idea de
la vida cotidiana

PREMIERE MUNDIAL / WORLD PREMIERE

An Idea of Everyday Life


La vida cotidiana est compuesta por acciones irrepetibles e
instantes extraordinarios. El corto narra un da en la vida de Iris,
una bsqueda y el encuentro de una vida cotidiana pasada.
Everyday life consists in unrepeatable actions and extraordinary instants. This short film narrates one day in the life of Iris,
a search, and the finding of a past everyday life.
Vernica Balduzzi
Naci en Buenos Aires en 1992. Estudi direccin cinematogrfica en la
Universidad del Cine, y tres aos de literatura en la UBA. Dirigi el corto
De periplos y cangrejos.
She was born in Buenos Aires in 1992. She studied film direction at Universidad del Cine, and three years of literature at the UBA. She directed
the short De periplos y cangrejos.

138

Argentina, 2016 / 10 / DM / Color / Espaol - Spanish


D, G, E, PE: Vernica Balduzzi F: Abril Llebeili
DA: Luca lvarez Ren S: Jos Fernndez Morgado
P: Mara Florencia Palombo CP: Universidad del Cine
I: Julia Martnez Rubio, Miguel Sorrentino
Contacto / Contact
Vernica Balduzzi
T +54 9 11 6958 6514
E ver.balduzzi@gmail.com
W cargocollective.com/veroazul

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Historias breves 12 / Brief Stories 12


Historias Breves, el concurso anual de cortometrajes para
directores organizado y producido por el INCAA, tuvo su
aparicin pblica en agosto de 1995. All hicieron su primera experiencia profesional realizadores como Lucrecia
Martel, Adrin Caetano y Daniel Burman, entre otros. A
lo largo de veinte aos, ha facilitado a nuevos directores
los medios materiales para realizar una pelcula en las
mismas condiciones que rigen en el cine industrial. Los
cortometrajes se estrenan en salas cinematogrficas. Son
visualizados por la crtica y el pblico, lo que permite a sus
directores obtener una devolucin ponderada del trabajo.
Los cortometrajes de Historias Breves han sido exhibidos
en los principales encuentros internacionales, y obtuvieron
una innumerable cantidad de premios que potencian la
presencia del cine nacional en el mundo.

Brief Stories, the annual short film contest for directors organized and produced by INCAA, was first presented in August
1995. It was the first professional experience for filmmakers
like Lucrecia Martel, Adrin Caetano and Daniel Burman,
among others. For the past twenty years, it has provided new
directors with the means to make a film in the same conditions that rule mainstream cinema. The short films premiere
in film theaters, they are seen by critics and general audiences, which allows directors to obtain a feedback of their
work. The short films of Brief Stories have been screened at
the top international festivals, and obtained many awards
that boost the presence of local cinema abroad.
Argentina, 2016 / 107 / DCP / Color / Espaol - Spanish
Contacto / Contact
INCAA
T +54 11 4379 0900 - Int 277
E concursosfomento@incaa.gov.ar W incaa.gov.ar

La canoa de Ulises
Diego Fi / 14

Itaet, un anciano, trata de inculcarle su


legado tradicional a Ulises, un adolescente
guaran, pero la vocacin del muchacho es
la msica. Por un accidente el anciano muere, y Ulises acepta el legado atvico de la
construccin de canoas.

Itaet is an old man who tries to pass on the


legacy of his tradition to Ulises, a guaran
teenager, but the boys calling is music. The
old man accidentally dies, and Ulises accepts
the atavistic legacy of building canoes.

El plan
Vctor Postiglione / 12

Cora (11) y su hermano Valentn (9) son testigos de la violencia en la relacin abusiva
de sus padres. Cora tiene un plan para liberar a su madre del castigo. Los hermanos lo
llevan a cabo. El plan se cumple con xito.

Cora (11) and her brother Valentn (9) are


constant witnesses of the violence of their
parents abusive relationship. Cora has a
plan to free her mother from this punishment. The kids carry it out. The plan is successful.

Cimarrn
Chiara Ghio / 11

Un cazador se encuentra atrapado en un


crculo que lo conduce invariablemente a
la locura.

140

A hunter is caught in a circle that inevitably


leads him to madness.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Una mujer en el bosque


Csar Sodero / 18

Jorge vive con Sofa en medio del bosque.


Sofa esconde un secreto que llevar a
Jorge a tomar una decisin muy importante.

Jorge lives with Sofa in the middle of the


woods. Sofa hides a secret that will lead
Jorge to make a very important decision.

Las nadadoras de Villa Rosa


Josefina Recio / 16

Un grupo de nadadoras adolescentes se


prepara para un campeonato. Laura es la
primera del grupo en despertar a su sexualidad. Su amiga Ana intenta acompaarla.
Laura atraviesa lo inevitable.

A group of teenage swimmers is getting


ready for a championship. Laura is the first
one to awaken to her sexuality. Her friend
Ana tries to accompany her. Laura is going
through the inevitable.

El inconveniente
Adriana Yurcovich / 14

En algunos barrios de Buenos Aires se interrumpe el servicio elctrico. En el edificio


donde vive Celina, una mujer mayor con
discapacidad motriz, todos parecen estar
ausentes. Celina debe luchar para sobrevivir.

The power goes out in some Buenos Aires


neighborhoods. Celina is an elderly disabled
woman, and in her building everyone appears to be gone. Celina will have to struggle
for her survival.

Las liebres
Martn Rodrguez Redondo / 11

Noche de invierno. Mariano juega con sus


hermanas mayores en la habitacin de la
casa de campo. Su padre lo viene a buscar
para llevarlo de cacera. Mariano prefiere
quedarse en la casa, pero su padre lo obliga
a acompaarlo.

A winter night. Mariano plays with his older


sisters in a room in their country house. His
father comes in to take him hunting. Mariano prefers to stay home, but his father takes
him anyway.

Cualquier similitud con la realidad es pura coincidencia


Dolores Montao / 11

En el interior de un blindado, tres hombres


esperan una orden. Llevan varias horas sin
poder salir. La manifestacin que los amenaza est cada vez ms cerca. Cuando la
accin comienza, algo falla.

Three men await for an order inside an armored truck. They have been there for several hours. The demonstration that threatens
them is getting closer and closer. When the
action begins, something goes wrong.

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141

noches especiales
special nights

special nights

El eslabn podrido
The Rotten Link
Entre los habitantes de un pequeo pueblo estn Ercilia, una
curandera senil, y Roberta, su hija y prostituta del pueblo, a
quien le advierten que, si se acuesta con todos los hombres del
lugar, morir. La amenaza es inminente, pues tan solo queda
un hombre con el que Roberta no ha estado.

The people living in a small town include Ercilia, a senile witch


doctor, and Roberta, her daughter and the towns prostitute.
She is warned that if she sleeps with every man in the town,
she will die. The threat is imminent, because there is only one
man Roberta hasnt been with.

El clima del pueblo pesa toneladas: son veinte casas, un puado


de hombres y el cuerpo sexuado de una joven prostituta que
ya pas por la mayora. Su madre, una curandera que palpita
su ltimo estertor, le recomienda que no se acueste con todos
o morir. Su hermano, un discapacitado mental, flota amenazante entre la tensa calma. Retorcida, truculenta y salvaje, El
eslabn podrido incomoda y no deja a nadie indiferente. Suerte
de Fuenteovejuna perversa, viene con palmars internacional:
gan Sitges, Catacumba y otros. Por ac anda la obra ms enferma de Diment, responsable de La memoria del muerto, con
la que logr cierta notoriedad en el mundo del gnero fantstico. Ante la duda, dejmoslo en claro: El eslabn podrido es
solo apta para pblico con estmago y mucho, mucho aguante.
Hernn Panessi

The towns atmosphere weighs tons: there are twenty houses,


a fistful of men and the sexed body of a young prostitute who
has slept with most of them. Her mother, a witch doctor who
foresees her last rattle, advises her not to sleep with all of them,
or she will die. Her brother, whos mentally challenged, floats
threateningly among the tense calm. Twisted, gruesome and
savage, El eslabn podrido brings discomfort and will leave no
one indifferent. Some sort of perverted Fuenteovejuna, it comes
with a great international track record: it won Sitges, Catacumba
and other festivals. And its the sickest film made by Diment,
responsible for Memory of the Dead, with which he achieved
certain notoriety in the world of the fantastic genre. And, in case
of doubt, lets make it clear: El eslabn podrido is only suitable
for very, very brave people with a stomach. HP

Valentn Javier Diment


Naci en Argentina en 1967. Integra la compaa productora Pelculas
V, desde donde ha participado en films como Aballay (2010) y Diablo
(2011). Es docente, editor del sitio web Mabuse, y guionista y realizador
de TV. Entre sus films se encuentran La memoria del muerto (Bafici 12)
y el documental Parapolicial negro (2010).
He was born in Argentina in 1967. Hes part of the production company
Pelculas V, in which he participated in films like Aballay (2010) and Diablo (2011). Hes a teacher, editor for the website Mabuse, and a TV writer
and director. La memoria del muerto (Bafici 12) and the documentary
Parapolicial negro (2010) are some of his films.

144

Argentina, 2015 / 74 / DCP / Color


Espaol - Spanish
D, P: Valentn Javier Diment G: Valentn Javier Diment, Sebastin
Corts, Martn Blousson, Germn Val F: Fernando Marticorena
E: Martn Blousson DA: Sandra Iurcovich S: Sebastin Gonzalez
M: Sebastin Daz PE: Daniel Botti, Vanesa Pagani
I: Luis Ziembrowski, Maril Marini, Paula Brasca
Contacto / Contact
Valentn Javier Diment
T +54 11 5935 7572 E javierdiment@gmail.com
W vjdiment.blogspot.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

noches especiales

La helada negra
The Black Frost
En un mundo suspendido en el tiempo, los campos de los
hermanos Lell son amenazados por una helada. Sin embargo,
cuando aparece una misteriosa joven y la helada cede, surge
el rumor entre los aldeanos de que es una santa que lleg
para salvarlos.

In a world suspended in time, the brothers Lells fields are


threatened by a frost. However, when a mysterious woman appears and the frost gives in, the rumor that shes a saint who
arrived to save them is spread between the villagers.

En el mismo universo de su pera prima, Germania, Maximiliano Schonfeld narra lo que sucede cuando un sujeto extrao
se mete en una cerrada comunidad desarreglando los hbitos
y costumbres adquiridas. La comunidad es la de los descendientes de alemanes del Volga que viven en Entre Ros, y el
extrao sujeto en cuestin es el personaje de Ailn Salas, una
chica de otro origen social y tnico que aparenta tener algn
tipo de poder curativo. Que lo tenga o no es secundario, ya que
el eje de la pelcula de Schonfeld pasa por las consecuencias
que esa llegada tiene entre los familiares que la reciben y en los
habitantes del pueblo, a los que ir sacudiendo en formas curiosamente teraputicas. Misteriosa, oscura, elptica, La helada
negra procede con la cadencia de un cuento nocturno contado
a la luz del fogn. Diego Lerer

In the same universe as his first feature, Germania, Maximiliano Schonfeld narrates what happens when a strange person
enters a closed community and upsets the acquired habits and
customs. The community is that of the German descendants
from Volga living in Entre Ros, and the strange person in question is the character played by Ailn Salas, a girl from another
social and ethnical origin who pretends to have some kind of
healing power. Whether she has it or not is beside the point,
because Schonfelds film actually centers on the consequences
that arrival has among the relatives that welcome her and in the
townspeople, who will be shaken in curiously therapeutic ways.
Mysterious, dark, elliptical, The Black Frost moves with the cadence of a nighttime story told at the light of a campfire. DL

Maximiliano Schonfeld
Naci en Argentina en 1982, estudi cine y TV en la Universidad Nacional
de Crdoba y luego se gradu en la ENERC. Realiz los cortometrajes
Esnorquel (2005), Entreluces (2006, Bafici 07) e Invernario (2010, Bafici
11), y el largo Germania (Bafici12).
He was born in Argentina in 1982, studied film and TV at the National
University of Crdoba and then graduated at the ENERC. He made the
documentaries Esnorquel(2005), Entreluces(2006; Bafici 07) and Invernario(2010, Bafici11), as well as the feature Germania (Bafici 12).

Argentina, 2016 / 81 / DCP / Color / Espaol - Spanish


D, G: Maximiliano Schonfeld F: Soledad Rodrguez
E: Ana Laura Remon DA: Adrin Surez
S: Nahuel Palenque P: Brbara Francisco, Delfina Montecchia,
Maximiliano Schonfeld PE: Brbara Francisco CP: Pasto Cine
I: Ailn Salas, Lucas Schell, Benigno Lell
Contacto / Contact
Pasto Cine. Brbara Francisco
T +54 11 4552 4943
E info@pastocine.com.ar
W pastocine.com.ar

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145

PREMIERE AMERICANA / AMERICAN PREMIERE

special nights

La valija de Benavdez
Benavidez Case
Benavdez es un profesor de plstica, casado con una bella
promesa de la pintura. Una noche, luego de discutir con ella,
el hombre pide asilo a su psiquiatra tras abandonar su hogar
con una valija. Pero en la mansin del mdico descubrir un
oscuro secreto.

Benavdez is a sculpting teacher married to a beautiful and


promising painter. One night, after an argument with her, the
man asks his psychiatrist for asylum after leaving his home
with a suitcase. But at the doctors mansion, he will discover
a dark secret.

Una stira descarnada del esnobismo y las pretensiones del


mundo del arte, una pelcula de terror que tiene como monstruo principal a un prestigioso terapeuta, una dramedia esperpntica en la que los cuadros se mueven como si fuesen
muertos vivientes, un thriller psicolgico repleto de laberintos.
Laura Casab acenta la rareza siniestra del cuento homnimo de Samanta Schweblin y da con una pesadilla asfixiante,
una fbula maldita que tiene como cmplice a un brillante
elenco protagnico (Norma Aleandro y Jorge Marrale nunca
se vieron tan perversos), adems de una estrafalaria galera
de secundarios. La valija de Benavdez es una extravagancia
imaginativa, pero tambin la alegora de un mundo reconocible. Andrs Nazarala R.

A grim satire to snobbery and the pretentiousness of the art


world, a horror movie with a prestigious therapist as its main
monster, a grotesque dramedy in which paintings move as
though they were the living dead, a psychological thriller filled
with labyrinths. Laura Casab accentuates the sinister oddness
of Samanta Schweblins eponymous short story, and the result
is a suffocating nightmare, a cursed fable with some brilliant
main actors (Norma Aleandro and Jorge Marrale never looked
as perverse as they do here) and an outlandish supporting cast
as its accomplices. Benavdezs Case is an imaginative extravaganza, but also the allegory of a recognizable world. ANR

Laura Casab
Naci en 1982, y dirigi el largometraje El hada buena, una fbula peronista (2010).
She was born in 1982 and has directed the feature The Good Fairy: A
Peronist Tale (2010).

Argentina, 2016 / 80 / DCP / Color / Espaol - Spanish


D: Laura Casab G: Laura Casab, Lisandro Bera F: Mariano Surez
E: Martn Blousson DA: Micaela Sleigh S: Pablo Isola M: Gillespi
P: Magal Nieva PE: Hernn Findling CP: Ninja Films, Horno
Producciones, Funciona, Kuenta SRL I: Norma Aleandro, Jorge Marrale,
Guillermo Pfening, Alejandro Parrilla, Paula Brasca
Contacto / Contact
Ninja Films. Magal Nieva
T +54 9 11 5782 3959
E magalin@gmail.com
W ninjafilmsargentina.com

146

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

noches especiales

Lucha. Jugando con lo imposible


Lucha. Playing the Impossible
Luciana Aymar posiblemente sea el mayor de los conos del
deporte femenino de nuestro tiempo. Ganadora de todas y
cada una de las medallas posibles, fue declarada Leyenda del
Hockey y alma mter indiscutida de Las Leonas: todo eso se
hace lugar en un merecido documental.

Luciana Aymar is probably the top icon of female sports of our


time. A winner of each and every possible medal, she was declared a Hockey Legend and the undisputable alma mater for the
Lionesses. All that is featured in a well-deserved documentary.

No existe un atleta en la historia del deporte mundial que haya


sido consagrado como el mejor del mundo en ocho oportunidades. Salvo, claro, Luciana Aymar: as de gigante es Lucha, la mejor jugadora de hockey de todos los tiempos. Su historia, adems,
corre en paralelo con la de Las Leonas, el seleccionado nacional
al que se sum casi como una mascota en 1998 y del que se
retir como leyenda quince aos ms tarde. Lucha. Jugando con
lo imposible reconstruye esas dos lneas de tiempo la del equipo
y la de la jugadora de punta a punta, alternando entre los testimonios de las grandes protagonistas de esta historia y el relato
ntimo, sin filtro y en primera persona de Aymar. Detrs de toda
gran mujer, hay muchas ms grandes mujeres, y este documental
se mete en el centro de esa relacin para revelar cmo es que
un individuo alcanza su mxima expresin en el contexto de un
deporte de equipos. Lucas Garfalo

No athlete in the history of sport has ever been enshrined as the


best of the world eight times. Except, of course, for Luciana Aymar: thats how great is Lucha, the best hockey player that ever
lived. Her story also runs in parallel with Las Leonas, the national
team she joined as a pet in 1998 and retired from fifteen years
later. Lucha. Playing the Impossible reconstructs those timelines
from the team and the players from end to end, alternating testimonies of great protagonists from that time with an intimate, unfiltered, first person portrait of Aymar. Behind every woman theres
lots of great women, and this documentary goes into the core of
that relationship to reveal how one individuality can achieve its
maximum expression in the context of team sport. LG

Ana Quiroga
Naci en Buenos Aires en 1978. Estudi comunicacin y luego montaje y
estructura dramtica con Miguel Prez. En 2004 cofund Zoek Producciones, una productora especializada en contenidos deportivos, y realiz
diversos documentales, series, cortos y programas. Lucha. Jugando con
lo imposible es su primer largometraje como directora.
She was born in Buenos Aires in 1978. She studied communication and
later film editing and drama structure with Miguel Prez. In 2004 she
co-founded Zoek Productions, a production company specialized in sports
contents, and made several documentaries, series, short films, and shows.
Lucha. Jugando con lo imposible is her first feature-length film.

Argentina, 2016 / 93 / DCP / Color


Espaol / Ingls - Spanish / English
D, DA: Ana Quiroga G: Ana Quiroga, Milagros Lay Gonzlez
F: Diego Gachassin E: Manuela Quiros, Miguel Prez
S: Martn Grignaschi M: Ruy Folguera P: Milagros Lay Gonzlez
PE: Milagros Lay Gonzlez, Carlos Barrientos CP: Zoek Producciones,
UntrefMedia I: Luciana Aymar, Magdalena Aicega, Cacho Vigil,
Cecilia Rognoni, Maartje Paumen
Contacto / Contact
Zoek Producciones, UNTREF Media.
Milagros Lay Gonzlez, Federico Consiglieri
T +54 9 11 3112 3929 +54 9 11 5764 3695
E milagros.lay@zoekproducciones.com
fconsiglieri@untrefmedia.edu.ar W luchalapelicula.com

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baficito
little bafici

little bafici

EDAD SUGERIDA
SUGGESTED AGE

+8

El gigante de hierro
The Iron Giant

Ambientada en plena paranoia de la Guerra Fra, la pera prima del director de Los Increbles narra la historia de un nio
que entabla una estrecha amistad con un robot gigante cado
del espacio.

Set during the peak of Cold War paranoia, the first film from the
director of The Incredibles tells the story of a kid who establishes a close friendship with a giant robot that fell from space.

Su-per-man!, dice el coloso de hierro y asume la pose del


kryptoniano. Es un instante de El gigante de hierro, la pelcula
animada de Brad Los Increbles Bird que comprime, como una
compactadora buenita y enamorada, el sci-fi y los miedos de
los cincuenta (poca en la que transcurre la accin), la animacin clsica de los Fleischer y un sentido pico y amable de
la conexin entre personajes destilado del Steven Spielberg de
E.T., el extraterrestre. La fbula del nio y su robot, que entre
Pixar y sus imitaciones devino (lamentablemente) excepcin,
vuelve con nuevas escenas que no modifican en absoluto sus
clidos instintos, sus ideas invencibles (todo en 2D, menos el
gigante selenita animado por CGI) y sus inoxidables ganas de
enamorar, est solo como el cine puede hacerlo. Juan Manuel
Domnguez

Su-per-man!, says the iron colossus, and assume Kryptonians pose. That instant in Brad The Incredibles Birds animated film works as a nice and loving press that comprises the
sci-fi and fear from the 50s (the time when the film is set), the
Fleischers classic animation, and both epic and a kind sense
of the connection between characters he distilled from Steven
Spielbergs E.T.. The fable of a kid and his robot has (sadly)
become an exception, due to Pixar and its imitations. The theme
now returns featuring new scenes that stay on the course of its
warm instincts, invincible ideas (everything is in 2D, except for
the Selenite giant in CGI), and a stainless will to captivate us, the
way only cinema can. JMD

Brad Bird
Naci en Montana en 1957. En 1989 ayud a desarrollar Los Simpson,
y trabaj durante algunos aos ms como consultor ejecutivo. Dirigi
varios largos animados, entre ellos Los Increbles (2005) y Ratatouille
(2007), y otros de accin en vivo, como Misin: Imposible. Protocolo
Fantasma (2011) y Tomorrowland (2015).
He was born in Montana in 1957. In 1989, he helped developing The
Simpsons, and worked in the show as an executive consultant. He
directed several animated films, including The Incredibles (2005) and
Ratatouille (2007), as well as live action ones such as Mission Impossible: Ghost Protocol (2011) and Tomorrowland (2015).

150

Estados Unidos - US, 1999 / 86 / DCP / Color / Ingls - English


D: Brad Bird G: Brad Bird, Tim McCanlies F: Steven Wilzbach
E: Darren T. Holmes DA: Mark Whiting S: Randy Thom
M: Michael Kamen P: Allison Abbate, Des McAnuff
PE: Pete Townshend CP: Warner Bros. I: Jennifer Aniston,
Harry Connick Jr., Vin Diesel, James Gammon, Cloris Leachman
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

baficito

Heavysaurios
Heavysaurs
Heavisaurus
Durante una excursin escolar a un parque de diversiones,
Toni y su compaera de clase Suvi descubren a los Heavysaurios, un grupo de criaturas que no piensan en otra cosa que no
sea comida y hard rock.

During a school trip to an amusement park, Toni and her classmate Suvi discover the Heavysaurus, a group of creatures who
only care about food and hard rock.

El cielo oscuro y las notas que una hechicera le arranca a una


guitarra conectada a un chispeante amplificador solo podan
dar como resultado algo extraordinario. Tan inesperado como el
sonido de un huevo al romperse. En realidad, de cinco de ellos,
que esperaban ah muy quietos hace 65 millones de aos. Esta
banda tiene un origen mstico que no poda ser otra cosa que
una pelcula de enredos, persecuciones e instrumentos aporreados. De origen finlands (y con una versin argentina que
escal hacia el xito en los escenarios rpidamente), la banda
de heavy metal jursico demostr que la msica para nios
puede escaparles a los payasos sonrientes y a las princesas
vestidas de rosa. Con tachas y cuero por doquier, Heavysaurios
es la cara rockera de los berrinches y deseos de los ms pequeos. Sol Santoro

Nothing other than extraordinary things could result from a dark


sky and the tones a sorcerer gets from a guitar plugged into a
sparking amplifier. Its something as unexpected as the sound
of an eggshell breaking. Actually, there were five eggs, which
waited still for 65 million years. This bands mystical origin could
only have been a film of confusions, persecutions, and bashed
instruments. The heavy metal band of Finish origins (it also has
an Argentine version that quickly became a stage hit) has proven that music for children can spare smiley clowns and pinkdressed princesses. Covered in leather and pins, Heavysaurs
is the rock and roll face of childrens tantrums and wishes. SS

Pekka Karjalainen
Naci en Finlandia en 1961. Tambin se desempea como diseador de
sonido. Dirigi varios largometrajes.
He was born in Finland in 1961. He directed several films and also works
as a sound designer.

Finlandia - Finland, 2016


85 / DCP / Color / Finlands - Finnish
D: Pekka Karjalainen G: Veli-Pekka Hnninen, Antero Arjatsalo,
Heikki Salo F: Konsta Sohlberg E: Kimmo Taavila P: Nina Laurio
PE: Jukka Helle, Markus Selin CP: Solar Films Inc. I: Milo Snellman,
Salli Siivonen, Taneli Mkel, Sam Huber, Veeti Kallio
Contacto / Contact
EastWest Filmdistribution
T +43 1 524 931 034
E festivals@eastwest-distribution.com
W eastwest-distribution.com
eastwest-distribution.com/film/heavysaurs

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little bafici

Molly Monster
Ted Siegers Molly Monster
La isla del huevo es el lugar en que nacen todos los monstruos
y donde los padres de Molly deben viajar para esperar que su
nuevo hijo salga del cascarn. Pero cuando se van y olvidan el
regalo de la nia para su futuro hermano, ella decide llevrselo
a travs de montaas, caones y mares.

The egg island is the place where monsters are born, and
Mollys parents have to travel there to wait for their new child
to hatch out. But when they leave and forget the girls present for his little brother, she decides to take it to him through
mountains, canyons, and oceans.

Los colores de Molly Monster son chillones, pero felizmente


chillones: estn a mitad de camino entre los crayonazos que un
nio hace el da de su cumpleaos y un testeo de envoltorio de
golosinas. Es lgico: es una pelcula alegre, para los ms chicos,
llena de ansiedades (Molly espera a un hermanito!) y de ganas
honestas de jugar (no por nada todo sucede en Monstruolandia). En primer lugar, juega con Molly: pap y mam se olvidaron su regalo para el hermanito y ahora ella debe ir a la isla
donde nacen los monstruos para llevarlo. El resultado es una
travesa amablemente absurda y traviesa. Luego, juega con las
imgenes: usando el estilo de la serie de TV alemana original, se
acerca ms a la historieta de trazo simple. En su encanto, Molly
Monster es una perfecta merienda de cine: clida y nica. Juan
Manuel Domnguez

The colors in Molly Monster are loud, but happily loud: they are
half way between the crayon scratches a kid makes on his birthday, and a candy wrap testing. Its ony logical: this is a cheerful
film for kids, filled with anxieties (Molly is going to have a baby
brother!) and an honest will to play (theres a reason everything
takes place in Monsterland). The film plays, first, with Molly: her
mom and dad forgot their present for her baby brother, and now
she has to go to the island where monsters are born in order to
take it. The result is a kindly absurd and knotty journey. But the
film also plays with the images: by using the simple style from
the original German TV show, it comes closer to a simply-drawn
comic book. In all its charm, Molly Monster is a perfect afternoon film snack: warm and unique. JMD

Los directores / the Directors


Ted Sieger: Naci en Coquimbo, Chile, en 1958. Cre libros ilustrados y tiras cmicas. Michael Ekblad: Naci en Suecia en 1960. En
2005 codirigi junto a Michael Edbland el cortometraje The Fourth King.
Matthias Bruhn: Naci en Alemania en 1962. Desde 1998 es el jefe
ejecutivo del TrickStudio Lutterbeck GmbH.
Ted Sieger: Born in Coquimbo, Chile, in 1958. He created illustrated
books and comic books. Michael Ekblad: Born in Sweden in 1960. In
2005 he co-directed the short film The Fourth King alongside Michael
Edbland. Matthias Bruhn: Born in Germany in 1962. Hes the executive
chief of TrickStudio Lutterbeck GmbH since 1998.

152

Alemania / Suiza / Suecia - Germany / Switzerland / Sweden,


2016 / 72 / DCP / Color / Espaol - Spanish
D: Ted Sieger, Michael Ekblad, Matthias Bruhn G: John Chambers
F: Wolfram Spaeth E: Melanie Hartmann DA: Ted Sieger S: Tilo Busch
M: Anette Focks P: Alexandra Schatz, Dr. Josef Burri
PE: Alexandra Schatz, Dr. Josef Burri CP: Alexandra Schatz
Filmproduktion, Little Monster
Contacto / Contact
Global Screen. Gisela Wiltschek
T +49 8924 4129 5580
E gisela.wiltschek@globalscreen.de
W globalscreen.de ~ mollymonster.tv

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baficito

Mune: Le Gardien
de la lune

SUGERIDA
+8 EDAD
SUGGESTED AGE

Mune: the Guardian of the Moon


Un fauno llamado Mune se convierte en el Guardin de la Luna.
Debe enfrentarse a un titn que el Sol quiere para s mismo
y pone en grave peligro el equilibrio entre el da y la noche.

A faun called Mune becomes the Guardian of the Moon. He


must face a titan who wants to own the Sun, endangering the
balance between day and night.

La animacin digital, ese modo de crear relatos animados que


comenz a ser frmula y norma comercial con Pixar, siempre
es agredida con una frase: desde que el CGI domina la animacin, el 2D la animacin a mano se cubre en su posible
inventiva. Malas noticias para el 2D: Mune usa modos digitales para crear imgenes y personajes que suelen asociarse a
inventivas ms plsticas, ms elsticas y, seamos sinceros,
ms memorables. Sus personajes, entre ellos el Mune del
ttulo, son habitantes de un mundo de guerreros y naturalezas que todo les deben a Hayao Miyazaki y a J. R. R. Tolkien.
Pero el film sabe traducir esas ideas que hipnotizan a quienes
aman la animacin de forma clara y sutil para los nios. Mune
es la combinacin perfecta que confirma que la animacin,
incluso cuando cuenta el relato del hroe, tiene todava mucho
para ofrecer. Juan Manuel Domnguez

Digital animation that form of creating animated stories that


became a formula and a commercial standard with Pixar is
always attached with a phrase: ever since CGI dominates
animation, 2D handmade animation covers itself in its
creative capacity. Bad news for 2D: Mune uses digital ways
to create images and characters that are usually associated
with more plastic, elastic, and to be honest memorable creations. Its characters, including Mune itself, live in a world of
warriors and nature that owes everything to Hayao Miyazaki
and J. R. R. Tolkien. But the film knows how to translate those
ideas that hypnotise animation lovers into a clear and subtle
form suitable for children. Mune is the perfect combination
that confirms animation even when featuring a heros journey still has a lot to offer. JMD

Alexandre Heboyan
Trabaj en DreamWork, animando personajes de Kung Fu Panda (2008)
y Monstruos vs. Aliens (2009).
He worked in DreamWorks animating characters from Kung Fu Panda
(2008) and Monsters vs. Aliens (2009).

Benot Philippon
Naci en Francia, y dirigi el film Lullaby for Pi (2010).
He was born in France, and directed the film Lullaby for Pi (2010).

Francia - France, 2015 / 86 / DCP / Color / Ingls - English


D: Alexandre Heboyan, Benoit Philippon G: Benoit Philippon,
Jrme Fansten E: Isabelle Malenfant DA: Rmi Salmon
S: Olivier Calvert M: Bruno Coulais P: Grgoire Melin, Aton Soumache,
Alexis Vonarb, Dimitri Rassam PE: Brice Garnier, Jean-Bernard Marinot
CP: Onyx Films Kinology
Contacto / Contact
Kinology. Grgoire Graesslin
T +33 9 5147 4344
E festivals@kinology.eu

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little bafici

EDAD SUGERIDA
SUGGESTED AGE

+8

Phantom Boy
Chico fantasma

Leo, de 11 aos, es un nio fantasma: puede hacerse invisible,


volar y atravesar paredes. Junto con Alex, polica en silla de
ruedas, deber rescatar a una periodista secuestrada por un
gnster y salvar a Nueva York de la destruccin.

Leo, who is 11, is a ghost kid: he can make himself invisible, fly
and go through walls. Along with Alex, a cop in a wheelchair,
he will have to rescue a journalist whos been kidnapped by a
gangster and save New York from destruction.

Solemos olvidarnos de que las historietas son siempre en dos


dimensiones. Tambin el cine, aunque los anteojitos a veces
nos confundan. Phantom Boy es una historia de superhroes
y un cuento de hadas dibujado en dos dimensiones, en el que
el diseo es la propia mirada infantil que tie este relato que
nace de la tristeza y construye su camino hacia la alegra. Lo
ms sorprendente de este film que es para chicos porque se
cuenta desde los chicos consiste en que, como los grandes
relatos universales, no esquiva los inconvenientes y los dolores
con la coartada de la correccin poltica, porque son ellos los
que crean la aventura y, por lo tanto, el inters. La imaginacin
es la mayor de las armas, y estos grficos simples de colores
sofisticados obligan al ejercicio de crear el espacio a partir de
las emociones. Leonardo DEspsito

We tend to forget that comic books are always in two dimensions. Film, too, even though the glasses get us confused from
time to time. Phantom Boy is a superhero story and a fairytale
drawn in two dimensions, in which the design is the very childlike gaze that tinges this story thats born from sadness and
builds its own path towards joy. The most amazing thing about
this film which is for kids because its told through kids lies
on the fact that, as in the great universal tales, it doesnt dodge
inconveniencies and pains with the alibi of political correctness,
because they are the ones that create adventure and, therefore,
interest. Imagination is the largest of weapons, and these simple
graphics of sophisticated colors make it compulsory to create
space through emotions. LMDE

Alain Gagnol
Naci en Francia en 1967. Trabaj como animador para el estudio de
animacin francesa Folimage.
He was born in France in 1967. He worked for French animation studio
Folimage.

Jean-Loup Felicioli
Naci en Francia en 1960. Codirigi junto con Alain Gagnol su primer
largo Une vie de chat (2010).
He was born in France in 1960. He co-directed his first feature A Cat in
Paris (2010) with Alain Gagnol.

154

Francia - France, 2015 / 80 / DCP / Color / Francs - French


D: Alain Gagnol, Jean-Loup Felicioli G: Alain Gagnol F: Izu Troin
E: Herv Guichard DA: Pascal Vermeerch S: Loc Burkhardt
M: Serge Besset P: Jacques-Rmy Girerd PE: Catherine Blanc-Maurizi
CP: Folimage Production, Lunanime I: Edouard Baer,
Jean-Pierre Marielle, Audrey Tautou, Jackie Berroyer
Contacto / Contact
Doc and Film International. Hannah Horner
T +33 142 778 966
E h.horner@docandfilm.com
W docandfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

baficito

Snowtime!
Hora de nieve!
Cuando llega el invierno, un nio y sus amigos se unen a la chica
recin llegada a la ciudad para una prolongada pelea de bolas
de nieve.

La guerra de nieve es esa fantasa (al menos para nosotros) que


el cine ha construido como las perfectas vacaciones en las que
uno siempre es nio. Snowtime! aprovecha esa creacin del
cine y la usa como excusa para generar una batalla real en,
como dira el protagonista de 11 aos, el pueblo ms grande
del mundo. La guerra infantil entre dos bandos de nios por un
castillo helado que durar dos semanas es la plataforma que
utiliza la pelcula para jugar con varios gneros que van desde
el blico, obviamente, hasta la aventura, pasando por la comedia de situacin. Snowtime! es simple en su premisa y en sus
formas, con sus personajes de bordes dignos de cmic clsico
norteamericano, pero eso no esconde sus ganas de dejar en
claro lo que piensa sobre la guerra, esa que no es animada.
Juan Manuel Domnguez

Jean-Franois Pouliot
Naci en Canad en 1979, y estudi en la Universidad de Concordia.
Trabaj como asistente de cmara y escribe y dirige cortos animados
para el Consejo Nacional de Cine.
He was born in Canada in 1979, and studied at the Concordia University.
He worked as a camera assistant, and also writes and directs animated
short films for the National Film Council.

Franois Brisson
Dirigi el largometraje animado Gene-Fusion (2011).
He directed the animated film Gene-Fusion (2011).

SUGERIDA
+8 EDAD
SUGGESTED AGE

Winter comes, and a boy and his friends join the new girl in
town for a long snowball fight.

A snow war is the fantasy (for us at least) cinema has built


as the perfect vacation, one in which youre always a kid.
Snowtime! makes the most of that film notion, and uses it as
an excuse to create a real battle in the biggest town in the
world, as the films 11-year-old protagonist would say. The kid
war between two bands over an ice castle that will melt in two
weeks is the platform the film uses to play with several genres
that range from war films obviously to adventure and situation comedy. Snowtime! is as simple as its premise, and simple
in its forms, with characters whose borders resemble the ones
of classic American comic books, but that doesnt hide its will
to state an idea about war the one that its not animated. JMD

Canad - Canada, 2015 / 82 / DCP / Color


Ingls / Francs - English / French
D: Jean-Franois Pouliot, Franois Brisson G: Normand Canac-Marquis,
Roger Cantin, Danyle Patenaude, Paul Risacher E: Robert Yates
DA: Philippe Arsenault Bussieres S: Raymond Vermette
M: Jorane, Eloi Painchaud P: Marie-Claude Beauchamp
PE: Marie-Claude Beauchamp, Paul Risacher, Normand Thauvette
CP: CarpeDiem Film & TV I: Angela Galuppo, Mariloup Wolfe,
Lucinda Davis, Nicholas Savard LHerbier, Sophie Cadieux
Contacto / Contact
Park Circus
T +44 141 332 2175 E info@parkcircus.com W parkcircus.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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little bafici

Song of the Sea


La cancin del mar
Ben y su pequea hermana Saoirse se embarcan en un viaje
fantstico de regreso a su casa en el mar, a travs de un mundo
de cuento de hadas, de magia y leyendas irlandesas antiguas.

Ben and his baby sister Saoirse set on a fantastic journey


through the oceans to get back home, in the sea and run
across a world of fairy tales, magic, and ancient Irish legends.

Pocas veces la frase nominada a un Oscar como Mejor Pelcula


Animada import menos. Song of the Sea fue nominada, y aun
as su valor est en su inventiva, en su capacidad para crear
una fbula que gana en personalidad por los dibujos a mano
(sobre todo por esas acuarelas) y tambin por su fe ciega en
determinadas formas de los relatos. Otra vez aparece en el cine
de Tomm Moore el folklore irlands, pero ahora tambin estn
el mar, las leyendas (focas que se transforman en humanos,
hadas y gigantes) y Halloween (como fecha en la que todo sucede). Lo artesanal del dibujo se transmite al relato, no solo
creando un encanto primario que encandila al dejar en claro el
trabajo humano, sino envolviendo a sus personajes, dndoles
un aura digna de un cuento infantil que alguien cre especialmente para nosotros. Juan Manuel Domnguez

Few times the expression nominated for an Oscar for Best


Animated Film has been more irrelevant. Song of the Sea was
nominated, but even so its value lies on its inventiveness, its
ability to create a fable that stands with its own personality for
its hand drawings (especially those watercolors), and its blind
faith in certain forms of storytelling. Irish folklore is featured
once again in Tomm Moores cinema, but now theres also the
sea, the legends (seals transforming into humans, fairies, and
giants), and Halloween (the date when everything happens). The
handicraft nature of drawing pours into the story creating a primal enchantment that both dazzles us by exposing human work
and surrounds its characters with the aura of a childrens story
someone created especially for us. JMD

Tomm Moore
Productor y director, conocido por The Secret of Kells (Bafici 09) y
The Prophet (2014).
A producer and director, hes known for The Secret of Kells (Bafici 09)
and The Prophet (2014).

156

Irlanda / Reino Unido - Ireland / UK, 2014 / 90 / DCP / Color


Espaol - Spanish
D, G: Tomm Moore E: Darragh Byrne DA: Alessandra Sorrentino
S: Felix Davin M: Bruno Coulais CP: Cartoon Saloon, Superprod
Contacto / Contact
WestEnd Films. Daphne Karnezis
T +4 42 074 948 300
E intern@westendfilms.com
W westendfilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

baficito

When Marnie Was There


Omoide no Mn
El recuerdo de Marnie

SUGERIDA
+12 EDAD
SUGGESTED AGE

Una nia vive con sus padres adoptivos y no tiene ninguna


amiga, hasta que conoce a Marnie. Pero cuando esta desaparece, la llegada de una nueva familia a la regin parece ser la
clave para resolver el misterio.

A girl lives with her adoptive parents and has no friends,


until she meets Marnie. But when she disappears, the arrival of a new family to the region seems to be the key to
solving the mystery.

A veces vemos las pelculas del Studio Ghibli simplemente porque funcionan como una especie de colirio para la pantalla, y
acaso tambin para nuestra retina. La limpian con esos rayos
de luz moteados que caen sobre los personajes a travs de las
copas de los rboles; la alivian con ese oleaje orgullosamente
bidimensional que se mueve caprichosamente en las escenas
acuticas; la sanan con esos rostros en los que la inocencia y la
sorpresa aparecen quintaesenciadas. When Marnie Was There
es una pelcula muy girly sobre el rito del paso de la infancia
a la juventud. Un relato extremadamente delicado que, como
en Mi vecino Totoro, saca a un personaje de su infeliz entorno
urbano habitual para que sea en la naturaleza donde cruce los
umbrales del misterio y experimente las primeras revelaciones
de la vida adulta. Joan Pons

Sometimes we see Studio Ghiblis films simply because they


act as eye drops for the screen as well as out retina. They clean
it with those spotted rays of light that fall over the characters
through the treetops; they soothe it with that proudly two-dimensional swell that moves haphazardly in the water scenes;
they heal it with those faces in which innocence and surprise
appear quintessentiated. When Marnie Was There is a very
girly film about the rite of passage from childhood to youth. An
extremely delicate tale that, like My Neighbor Totoro, takes a
character off her unhappy urban environment and into nature
for her to cross the thresholds of mystery and experience the
first revelations of adult life. JP

Hiromasa Yonebayashi
Naci en Ishikawa, Japn, en 1973. Estudi diseo comercial en la
Escuela de Arte de Kanazawa. Trabaj en los departamentos de animacin del Studio Ghibli, donde llev adelante films como La princesa
Mononoke (1997) y El viaje de Chihiro (2001), entre otros. Debut como
realizador con Arrietty y el mundo de los diminutos (2010; Bafici 12).
He was born in Ishikawa, Japan, in 1973. He studied commercial design
at the Kanazawa Art School. We worked in the animation departments of
Studio Ghibli, where he worked in films like Princess Mononoke (1997)
and Spirited Away (2001). He made his debut as a filmmaker with The
Secret World of Arrietty (2010; Bafici 12).

Japn - Japan, 2014 / 103 / DCP / Color


Japons - Japanese
D: Hiromasa Yonebayashi G: Keiko Niwa, Masashi Ando,
Hiromasa Yonebayashi DA: Yohei Taneda M: Takatsugu Muramatsu
P: Yoshiaki Nishimura CP: Studio Ghibli I: Sara Takatsuki,
Kasumi Arimura, Nanako Matsushima, Susumu Terajima, Toshie Negishi
Contacto / Contact
California Filmes
T +5511 2899 9000
W californiafilmes.com.br

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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PREMIERE LATINOAMERICANA / LATAM PREMIERE

little bafici

Yoko y sus amigos


Yoko and His Friends
A Vik le cuesta mucho hacer amigos, y cada vez que lo consigue trasladan a su padre a otra ciudad y tiene que volver a
empezar de cero. Tras la ltima mudanza, conoce a dos nios
con los que entabla una gran amistad, y con sus juegos propician la aparicin de un ser mgico que habita en el parque.

Vik has a hard time making friends, and every time she succeeds, her father is transferred to another city and she has to
start all over again. After her latest move, she meets two children with whom she starts a great friendship, and their games
cause the appearance of a magical being that lives in the park.

Una invitacin a jugar al aire libre, lejos de pantallas iluminadas, con otros nios. Eso es Yoko y sus amigos, sana como un
plato de verduras en sus valores y deliciosa como un surtido de
golosinas. Tras varias mudanzas, Vik, de seis aos, llega a una
nueva ciudad donde vivir frente a un parque. A pesar de su
timidez, termina hacindose amigo de Mai y Oto, con quienes
descubre a Yoko, un ser mgico del bosque de reminiscencias
totorescas que solo puede ser visto por nios a los que les gusta
jugar y que los llevar a vivir aventuras por mundos imaginarios
cada tarde. Pero una nueva mudanza acecha. Premiada en Sevilla, esta coproduccin espaola con la compaa rusa de The
Snow Queen cuenta con la direccin de arte de Ricardo Ramn
(Pap, soy una zombi y El corazn del roble), responsable de su
colorida esttica y angulosos personajes, mezcla de muecos
Cubeecraft y Lego. Elena Duque

An invitation to play outside, far from the illuminated screens,


with other children. That is Yoko and His Friends, healthy as
a plate of vegetables in its values and delicious as assorted
candy. After many relocations, six-year-old Vik arrives in a new
city where he will live in front of a park. In spite of his shyness,
he ends up befriending Mai and Oto, with whom he discovers
Yoko: a magical being from the woods of totoroesque reminiscences that can only be seen by kids who like to play, and who
will take them on adventures through imaginary worlds every
afternoon. But a new relocation awaits. Awarded in Seville, this
co-production between Spain and the Russian company responsible for The Snow Queen has Ricardo Ramn (Daddy, Im
a Zombie and Dragon Guardians) as production designer, who
achieves a colorful aesthetic and angular characters that are
part-Cubeecraft, part-Lego. ED

Juanjo Elordi
En 2002 dirigi su primera pelcula de animacin, Olentzero, un cuento
de Navidad, a la que seguiran varias ms.
In 2002, he directed his first animated film, Olentzero, un cuento de Navidad, which was followed by many more.

Espaa / Rusia - Spain / Russia, 2015 / 78 / DCP / Color


Espaol - Spanish
D: Juanjo Elordi G: Edorta Barruetabea
F, DA: Ricardo Ramn E: Alaztne Portu M: Michael Richard Plowman
P: Juanjo Elordi, Yuri Moskvin, Ricardo Ramn, Vladimir Nikoalev,
Alexander Mirgorodskiy CP: Yokoren Kluba, Wizart Animation
Contacto / Contact
Barton Films. Jos Antonio Fernndez
T +34 944 240 559
E bartonfilms@bartonfilms.com
W bartonfilms.com ~ yokoetalagunak.com

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baficito - aardman
little bafici - aardman

little bafici - aardman

Pollitos en fuga
Chicken Run
Peter Lord en pleno milagro. Pollitos en fuga comprimi todo
lo que Aardman vena haciendo con gracia y alegra en sus
cortos, los de Wallace y Gromit y los otros, de forma amable pero tambin consistente. En lugar de regodearse en s
misma, la animacin excelsa se vuelve comedia fsica; la caracterizacin de personajes digna del cine clsico solo sirve
para mejorar la conexin, y el gnero es usado con cario y
alteracin. Pocas obras son as de coherentes e innovadoras.
Juan Manuel Domnguez
Peter Lord making miracles. Chicken Run summarized everything Aardman had been doing with humor and joy in his short
films, be them Wallace and Gromits or others, in an amiable
but consistent way. Instead of showing off, sublime animation
became physical comedy; the character development, worthy
of classic film, only served to improve the connection, and
genre is used with care and alteration. Few bodies of work are
as coherent and innovative in the same way. JMD

Reino Unido / Estados Unidos / Francia


UK / US / France, 2000 / 84 / DM / Color / Espaol - Spanish
D, G: Peter Lord, Nick Park E: Robert Francis, Tamsin Parry,
Mark Solomon DA: Phil Lewis M: Harry Gregson-Williams,
John Powell I: Phil Daniels, Lynn Ferguson, Mel Gibson,
Tony Haygarth, Jane Horrocks
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com

Operacin Regalo
Arthur Christmas
Y un da, con sospechas, nos sentamos a ver la segunda animacin digital de Aardman. En la primera, Lo que el agua se
llev, todava quedaban resquicios de las formas de plastilina
fundacionales y caractersticas. Aqu no. Una historia que juega
con Santa Claus y su metodologa a la hora de los regalos se
convierte en la prueba de que Aardman, con los dedos manchados o en el teclado, es una empresa de ideas antes que de
frmulas. Sin ser un milagro, es un perfecto obsequio para el
anestesiado cine digital. JMD
And one day, with suspicion, we sat to see Aardmans second
digital animated film. In the first one, Flushed Away, there were
still traces of their foundational, characteristic clay forms. Not
here. And even yet, a story that plays with Santa Claus and his
methodology when delivering gifts becomes proof that Aardman, whether its hands are dirty or on a keyboard, is a company of ideas rather than formulas. Without being a miracle, its
a perfect gift to the anesthetized digital cinema. JMD

160

Reino Unido / Estados Unidos - UK / US, 2011


97 / DM / Color / Espaol - Spanish
D: Sarah Smith, Barry Cook G: Peter Baynham, Sarah Smith
F: Jericca Cleland E: John Carnochan, James Cooper
DA: Evgeni Tomov M: Harry Gregson-Williams I: James McAvoy,
Hugh Laurie, Bill Nighy, Jim Broadbent, Imelda Staunton
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

baficito - aardman

Piratas! Una loca


aventura
The Pirates! In an Adventure
with Scientists!
La primera travesura en 3D de Aardman es, primero, un retorno a la animacin con plastilina cuadro por cuadro y, segundo,
una de piratas. Otra vez Aardman toma formas que a simple
vista no pareceran provocar alegra instantnea (juega con un
molde de piratas al estilo Vincente Minnelli), y logra concentrar
no solo las virtudes de la comedia sino tambin un sentido del
absurdo perfectamente maleable y coherente. Piratas! confirma que, cuando Aardman aborda, solo nos queda sonrer. JMD
Aardmans first 3D adventure is, firstly, a return to stop-motion
Claymation and, secondly, a pirate movie. Once more, Aardman
takes forms from which it would seem impossible to provoke
instant joy (playing with a Vincente Minnelli-style pirate mold)
and succeeds in concentrating not only virtues and possible
comedies of the genre, but also a sense of the absurd that is
perfectly malleable and coherent. The Pirates! Band of Misfits
confirms that, when Aardman comes on board, all we have is
a chance to smile. JMD

Reino Unido / Estados Unidos - UK / US, 2012


88 / DM / Color / Espaol - Spanish
D: Peter Lord, Jeff Newitt G: Gideon Defoe E: Justin Krish
DA: Norman Garwood M: Theodore Shapiro P: Julie Lockhart,
Peter Lord, David Sproxton I: Hugh Grant, Martin Freeman,
Imelda Staunton, David Tennant, Salma Hayek
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com

Shaun el cordero:
la pelcula
Shaun the Sheep Movie
La segunda creacin ms famosa de Aardman salta de la TV
al cine. En un planeta donde el digital domina de forma espectacular o penitente, Aardman vuelve a la plastilina y a la
animacin cuadro por cuadro. No por testarudos, eh, sino por
enamorados. De hecho, casi sin palabras, la oveja Shaun y su
pandilla se vuelcan en un cine tremendamente puro, y eso,
ms que una leccin, es un disfrute real del medio. Buster
Keaton hecho lana, Harold Lloyd ovino: Aardman actualiza su
leyenda sin ceder ni un centmetro de su integridad. JMD
The second most famous of Aardmans creations makes its
jump from TV to film. In a planet where the digital rules, whether its in a spectacular or pertinent way, Aardman returns to
clay and stop-motion animation. And not because theyre stubborn, but because theyre in love with it. In fact, with almost no
words, Shaun the sheep and his gang become a tremendously
pure kind of cinema (and wordless, as we said), and that, rather
than a lesson, is more about really enjoying the medium. Buster Keaton in wool, an ovine Harold Lloyd: Aardman updates its
legend without losing an ounce of integrity. JMD

Reino Unido / Francia - UK / France, 2015


85 / DM / Color / Espaol - Spanish
D, G: Mark Burton, Richard Starzak F: Charles Copping,
Dave Alex Riddett E: Sim Evan-Jones DA: Matt Perry
M: Ilan Eshkeri I: Justin Fletcher, John Sparkes,
Omid Djalili, Richard Webber, Kate Harbour
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com

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little bafici - aardman

Programa - 40 aos de Aardman


40 Years of Aardman Program
Aardman es la bendicin inglesa con la que Nick Park y Peter
Lord decidieron apretar sus pasiones (como quien comprime
plastilina para crear esos colores nuevos, mutantes, felices)
hasta concentrarlas en un estudio que ha devenido constructor, cuadro por cuadro o digital, de un cine animado distinto.
Los 40 aos de Aardman aqu pueden verse desde el logo
artesanal hasta sus ms recientes trabajos, pasando por publicidades y personajes clsicos como Wallace y Gromit, Angry
Kid o Shaun el cordero. Esos 40 aos son cuatro dcadas de
pelculas, medios y cortos que han apelado a una mezcla romntica de pureza, cinefilia, dedicacin y cierta alegra quijotesca (honestamente: nadie hizo nunca lo que Aardman realiz
con la animacin cuadro por cuadro). En un mundo donde lo
digital prevalece y domina, Aardman no es tanto contracultural,
sino un feliz y posible Edn donde las ganas de moldear lo
ldico se mezclan con las de crear relatos tan encantadores y
posiblemente cotidianos como el t de las cinco. Juan Manuel
Domnguez

Aardman is the English blessing Nick Park and Peter Lord used
to compress their passions (like when someone squashes clay
to create new, mutant, happy colors) and concentrate them
into a studio that has become a source of a different kind of
animated cinema, either frame-by-frame or digital. Aardmans
40 years can be sensed in both its handmade logo and his
most recent works, including commercials and classic characters, like Wallace and Gromit, Angry Kid, or Shaun the Sheep.
Those 40 years mean four decades of films mediumlength
and short ones that have appealed to a romantic mixture of
purity, cinephilia, dedication, and a certain Quixote-like joy
(honestly: no one has ever done what Aardman did with frameby-frame animation). In a world where digital cinema prevails
and rules, Aardman is not so much counter-culture as a happy
and possible Eden, where the will to mold a playful spirit gets
mixed with the urge to create stories as lovely and possibly
everyday-like as five oclock tea. JMD

Vision on Film

Angry Kid - Bone

Inglaterra, 1975 / 1 / DM / Color / Ingls English

Inglaterra, 1998 / 1 / DM / Color / Ingls - English

D: Peter Lord

D: Darren Walsh

Morph - Gran Morphs


Home Movies

Purple & Brown - Whistler

Inglaterra, 1980 / 5 / DM / Color / Ingls English


D: Peter Lord

Creature Comforts
Inglaterra, 1989 / 5 / DM / Color / Ingls English

Inglaterra, 2006 / 1 / DM / Color / Ingls - English


D: Rich Webber

Dot
Inglaterra, 2010 / 2 / DM / Color / Ingls - English
D: Sumo Science Aardman Animations

D: Nick Park

Fly

Wallace & Gromit - The


Wrong Trousers

Inglaterra, 2010 / 3 / DM / Color / Ingls English

Inglaterra, 1993 / 30 / DM / Color / Ingls - English


D: Nick Park

D: Jay Grace

DC Nation - DCs Worlds


Funnest EP01
Inglaterra, 2011 / 1 / DM / Color / Ingls - English
D: Richard Webber

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baficito - aardman

Pythagasaurus

Shaun the Sheep - Cones

Inglaterra, 2011 / 4 / DM / Color / Ingls - English

Inglaterra, 2013 / 7 / DM / Color / Ingls - English

D: Peter Peake

D: Jay Grace, Lee Wilton

Aardman Logo

Morph - Sloped World

Inglaterra, 2012 / 2 / DM / Color / Ingls - English

Inglaterra, 2014 / 2 / DM / Color / Ingls - English

The Pirates! In an
Adventure with SCIENTISTS! So You Want To Be a Pirate

D: Peter Lord

Rays Big Idea


Inglaterra, 2014 / 3 / DM / Color / Ingls - English
D: Steve Harding-Hill

Inglaterra, 2012 / 15 / DM / Color / Ingls English


D: Jay Grace

Aardman: Nathan Love!

Shaun the Sheep - 3DTV

Inglaterra, 2015 / 2 / DM / Color / Ingls - English


D: Joe Burrascano

Inglaterra, 2013 / 7 / DM / Color / Ingls - English


D: Jay Grace, Lee Wilton
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com
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little bafici - aardman

Programa - Wallace & Gromit


Wallace & Gromit Program

Si hay un milagro que ha generado la animacin cuadro por


cuadro, ese es, sin dudas, Wallace y Gromit. Las creaciones
ms famosas de Aardman son tambin la mejor celebracin de
cientos de cosas que el cine ha hecho bien (desde lo mejor del
cine mudo hasta la proeza de que cada movimiento de esos
muecos de plastilina implique una dedicacin cien veces ms
romntica que una computadora). El perro que lee Dostoievski
y el inventor comequeso conforman la dupla sobre la que Nick
Park ha generado cuatro cortos que saben respirar Abbot y
Costello, Ealing, Buster Keaton, la Hammer, Bill Murray y una
calidez e inteligencia que solo Bugs Bunny o Mickey Mouse
pueden generar. Wallace y Gromit son la mejor respuesta a la
digitalizacin en masa: cada una de sus aventuras se lee como
una exploracin y proeza, antes que como merchandising que
hace fila para facturar millones. Son los ltimos grandes hroes del cine de animacin. Juan Manuel Domnguez

A Grand Day Out


Inglaterra, 1990 / 24 / DM / Color / Ingls - English

A Close Shave
Inglaterra, 1995 / 31 / DM / Color / Ingls - English

If theres a miracle that came from frame-by-frame animation,


thats definitely Wallace and Gromit. Aardmans most famous
creations are also a celebration of hundreds of things cinema
did well (from the finest silent films to the amazing fact that
each movement of those clay dolls means a kind of dedication
that is a hundred times more romantic than a computer). The
Dostoyevsky-reading dog and the cheese-eating inventor form
the duo with which Nick Park has created four short films that
breathe Abbot and Costello, Ealing, Buster Keaton, the Hammer, Bill Murray, and a warmth and cleverness only Bugs Bunny or Mickey Mouse are able to generate. Wallace and Gromit
are the best answer to mass digitalization: every one of their
adventures can be interpreted as an exploration and a feat,
instead of just merchandising in line to make millions. They are
the last great heroes of animation cinema. JMD

D: Nick Park
Contacto / Contact
Aardman Animations. Anna Lewis
T +1 117 984 8485
W aardman.com

A Matter of Loaf and Death


Inglaterra, 2008 / 29 / DM / Color / Ingls - English

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CLSICOS baficito / LITTLE


baficito
BAFICI
- aardman
CLASSICS

La mquina que
hace estrellas

Rodencia y el
diente de la princesa

2012 / Argentina / 80 / D: Esteban Echeverra

2012 / Per - Argentina / 85 / D: David Bisbano

La primera pelcula argentina de animacin en 3D es tambin


una amable adaptacin del mito del hroe. Pilo es un nio extraterrestre. Ama los relatos y la aventura, y quiere conocer
esas estrellas que ve desde su asteroide. Finalmente, la leyenda de su abuelo sobre una mquina que genera estrellas todas
las noches lo lleva a cumplir sus sueos.

En el medio del bosque existe Rodencia, un reino lleno de


magia, guerreros y leyendas. Edam, un pequeo aprendiz de
mago con varias materias en marzo, y Brie, la valiente ratona,
deben llevar a cabo un viaje en busca de un legendario poder.
Pero las cosas no sern simples, y nuestros hroes debern
enfrentar peligros varios.

The first animated 3D film made in Argentina is also a kind depiction of the heros journey. Pilo is an alien boy. He loves stories
and adventure. He wants to know those stars he sees from his
asteroid. Finally, the legend of his grandfather about a machine
that creates stars every night will drive him to realize his dreams.

Hidden in the forest seats Rodencia, a kingdom full of magic,


warriors, and legends. Edam, a young magician apprentice that
is failing quite a few courses, and Brie, a brave mouse, will go
out in a journey to find a legendary power. But things arent
so simple, and our heroes will have to face several dangers.

Anina

Minsculos

2013 / 80 / Uruguay - Colombia


D: Alfredo Soderguit

2013 / 89 / Francia
D: Thomas Szabo, Hlne Giraud

Cuando O menino e o mundo o Historia de un oso an no


sugeran el boom de la animacin latina de los ltimos diez
aos, Anina, el milagro uruguayo del gnero, dejaba en claro
que, con idiosincrasia, ternura y una belleza visual que no se
limitaba por la ausencia de recursos, se poda hacer la mejor
pelcula posible.

El picnic ha terminado intempestivamente. Al alcance del ojo


humano, nada sucede. Pero esos preciados restos se convierten en la razn de una guerra pica entre las hormigas negras
y las rojas. Sin dilogos, apelando a la belleza de la serie de TV,
la primera pelcula de Minsculos fue celebrada mundialmente
por su inventiva.

Back when A Boy and the World, and Bear Story hadnt yet
hinted the boom of Latin American animation in the last ten
years, Anina, a Uruguayan miracle within the genre, made clear
that you could make the finest of films with idiosyncrasy, tenderness, and a visual beauty unlimited by its lack of resources.

The picnic has ended suddenly. To the human eye, nothing is


happening. But those precious crumbs become the reason for
an epic battle between black and red ants. With no dialogues,
and appealing to the beauty of the TV show, the first Minsculos films inventiveness was celebrated around the world.

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cine planetario
planetarium cinema

planetarium cinema

Dinosaurs at Dusk:
The Origins of Flight
Dinosaurios al anochecer: los orgenes
del vuelo
Dinosaurs at Dusk es una aventura hacia el conocimiento entre
un padre y su hija Lucy, quienes comparten una fascinacin
por todo lo que vuela. Viajars al pasado para conocer a los
pterosaurios y los ancestros de las aves de hoy en da: los
dinosaurios con plumas. Lucy y su padre viajan de continente
a continente y buscan pistas acerca de los orgenes del vuelo.
Cuando el tiempo se acaba, experimentan de primera mano el
catastrfico ltimo da de los dinosaurios.
Dinosaurs at Dusk is a learning adventure of a father and his
daughter Lucy, who share a fascination for all things that fly.
Youll travel back in time to meet the pterosaurs and the ancestors of modern-day birds: the feathered dinosaurs. Lucy and
her father navigate from continent to continent, looking for
clues about the origins of flight. When time runs out they experience firsthand the cataclysmic last day of the dinosaurs.

Holanda - Netherlands, 2014


44 / DM / Color / Espaol - Spanish
D, G, DA, PE: Robin Sip F: Peter Geerts, Leon Verschoor
E: Leon Verschoor, Robin Sip S: Bob Kommer Studios
M: Mark Slater CP: Mirage3D I: Anne Rats, Rick Verstraten
Contacto / Contact
Mirage3D. Akemi Makado
T +31 70 345 7500
E akemi@mirage3d.nl
W mirage3d.nl ~ dinosaursatdusk.com

From Earth to the Universe


De la Tierra al universo
Este sorprendente viaje de 30 minutos a travs del tiempo y
el espacio nos muestra el Universo revelado por la ciencia en
una impresionante combinacin de imgenes y sonidos. Este
especial fue producido para el Planetario y Centro de Visitas
Supernova del Observatorio Europeo Austral, que se inaugurar en 2017.
This stunning 30-minute voyage through time and space conveys, through an arresting combination of sights and sounds,
the Universe revealed to us by science. The show was produced for the European Southern Observatorys Supernova
Planetarium and Visitor Centre, to be opened in 2017.

Alemania - Germany, 2015


30 / 4k / Color / Espaol - Spanish
D, P: Theofanis Matsopoulos G: Nicolas Matsopoulos, Lars Lindberg
Christensen, Anne Rhodes F: Theofanis Matsopoulos, Luis Calada,
Martin Kornmesser CP: European Southern Observatory
Contacto / Contact
European Southern Observatory
W eso.org

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cine planetario

One World, One Sky:


Big Birds Adventure
Un mundo, un cielo: la aventura de Big Bird
Los ms chicos estarn muy entusiasmados al encontrarse en
Plaza Ssamo junto a Big Bird y Elmo! La diversin comienza
cuando Hu Hu Zhu, amigo de Elmo, llega de visita desde China. Los tres amigos, aficionados a la astronoma, emprenden
un emocionante viaje de descubrimiento en el que aprendern
acerca del Sol, la Osa Mayor y ms. Elmo y Hu Hu Zhu despegan en un viaje imaginario a la luna y, luego de volver a la
Tierra, descubrirn que, vivamos donde vivamos, todos compartimos el mismo cielo.
Young audiences will be thrilled to find themselves on Sesame
Street with Big Bird and Elmo! The fun begins when Elmos
friend, Hu Hu Zhu, visits from China and the three stargazing friends embark on an exciting journey of discovery to learn
about the Sun, the Big Dipper, and more. Elmo and Hu Hu Zhu
blast off on an imaginary trip to the Moon and after they return
home to Earth, everyone discovers that, no matter where we
live, we all share the same sky.

Estados Unidos - US, 2009


25 / 4k / Color / Espaol - Spanish
D: Ken Diego G: Annie Evans F: Bill Berner
E: Marsha Moore-McKeever DA: Patrick McPike
S: Blake Norton M: Jeff Moss P: Christina Delfico
PE: Christina Delfico CP: Adler Planetarium, Sesame Workshop,
Beijing Planetarium, Liberty Science Center
Contacto / Contact
Adler Planetarium. Mark Webb
T +1 312 322 0826
E mwebb@adlerplanetarium.org W adlerplanetarium.org

Space Rock Symphony


Sinfona de rock espacial
Experiment un moderno cuento de hadas rockero en el
que e-guitarras, orquestas sinfnicas e imgenes csmicas
se unen en un emocionante show. Hipnotizate con los ms
grandes hits sinfnicos de rock de las ltimas dcadas. Al
ritmo de muchas de las grandes leyendas de la msica,
nos dejamos llevar por el nico lugar ms infinito que el
universo: nuestra propia imaginacin.
Experience a modern rock fairytale where e-guitars, symphonic orchestras and cosmic images combine into an
exciting show. Get hypnotized by the greatest symphonic
Rock-hits of the last decades. To the driving sound of many
of the greatest legends of rock we let ourselves be carried
away to the only place that is even more infinite than the
universe: our own imagination.

Alemania - Germany, 2015


50 / 4k / Color
D, G, E, DA, P: Robert Sawallisch S: W. Don Eck CP: Sternevent
Contacto / Contact
Sternevent. Robert Sawallisch
T +49 364 188 5431
E robert.sawallisch@planetarium-jena.de
W planetarium-jena.de

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planetarium cinema

Waiting Far Away


Esperando a lo lejos
Un explorador del cosmos viaj demasiado lejos y no puede
encontrar su hogar. Qu misterios ha resuelto mientras estuvo perdido en el espacio?
An explorer of the cosmos has traveled too far and cant find
home. What mysteries has he uncovered while lost in space?

Estados Unidos - US, 2014 / 12 / 4k / Color


Espaol - Spanish
D: Charles Hayden Planetarium G, E: Jason Fletcher
F, DA: Jason Fletcher, Wade Sylvester S, M: Wade Sylvester
CP: Charles Hayden Planetarium, Museum of Science
Contacto / Contact
Museum of Science. Jason Fletcher
T +51 2 695 7750
E jfletcher@mos.org
W thefulldomeblog.com

Amigos, Inside the


Human Body
Luego de un misterioso encuentro y con la ayuda de una invencin maravillosa, la Habitacin de Realidad Virtual, tres nios
y un perro aprendern de primera mano acerca de aquella
mquina increble que es el cuerpo humano. Entendern cmo
funciona el sentido de la vista, el cerebro, la mecnica del corazn y nuestro sistema digestivo. Tambin debern ayudar a
que el cuerpo luche contra un invasor que intentar provocarle
graves enfermedades.
After a mysterious meeting and with the help of a wonderful
invention, The Virtual Reality Room, three children and a dog
will learn firsthand about the incredible machine that is the human body. They will learn how the sense of sight works, about
the brain, the hearts mechanics and our digestive system.
They will also have to help the body to fight off an invader who
will try to provoke bad illnesses.

170

Espaa - Spain, 2013 / 28 / 4k / Color / Espaol - Spanish


D: Mark Brownlow CP: 3Duno
Contacto / Contact
Reef Distribution
T +49 891 8908 2699
E info@reef-distribution.com
W reef-distribution.com ~ facebook.com/amigoslaserie

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cine planetario

Kaluokahina, the
Enchanted Reef
Kaluokahina, el arrecife encantado
La inmensidad de los ocanos de nuestro planeta guarda secretos. Uno de los ms preciados es Kaluokahina, el arrecife
encantado cuya magia lo protege de que los humanos lo encuentren. Los coloridos habitantes de Kaluokahina han vivido
siempre en paz, hasta que el volcn entra en erupcin y el hechizo se rompe. Ahora el joven Jake, el pez sierra, y su amigo
paranoico Shorty debern restaurar la magia. Su nica pista: la
antigua leyenda que habla de tocar la luna. Pero cmo puede
un pez tocar la luna?
The vastness of our planets oceans guards secrets. One of
its most precious is Kaluokahina, the enchanted reef whose
magic protects it against humans finding it. Kaluokahinas colorful inhabitants have thus always lived in peace until the volcano erupts, and the spell is broken. Now its up to the young
sawfish Jake and his paranoid pal Shorty to restore that magic.
Their only lead: the ancient legend that tells of touching the
moon. But how is a fish supposed to touch the moon?

Alemania - Germany, 2004 / 32 / 4k / Color


Espaol - Spanish
D, G: Peter Popp E: Raul Erdossy DA: Daniel Ploechinger
M: Florian Kppler, Daniel Requard CP: Softmachine
Contacto / Contact
Reef Distribution
T +49 891 8908 2699
E info@reef-distribution.com
W reef-distribution.com ~ kaluokahina.com

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171

Pas invitado: Estados Unidos


Guest Country: United States
FUNCIN DE CLAUSURA /
OPENING NIGHT

Arquitectura /
Architecture

Rescates / rescues

Miles Ahead

TELOS: The Fantastic World


of Eugene Tssui

La chica de rosa

COMPETENCIA INTERNACIONAL /
INTERNATIONAL COMPETITION
Creative Control

COMPETENCIA VANGUARDIA
Y GNERO / AVANT-GARDE AND
GENRE COMPETITION
Bone Tomahawk
Solitary Acts
Something Between Us

BAFICITO / LITTLE BAFICI


El gigante de hierro

Planetario / planetarium
cinema

Film
Notfilm

Comer y Beber /
Eat & Drink

Peter Bogdanovich

In Defense of Food

La ltima pelcula
Luna de papel

Hacerse Grande /
Coming of Age
God Bless the Child
The Diary of a Teenage Girl

Msica / Music
American Epic Trilogy
I Saw the Light
Junun

Mralos morir
One Day Since Yesterday:
Peter Bogdanovich & the Lost
American Film
Qu pasa, doctor?
Terapia en Broadway
Tom Petty and the Heartbreakers:
Runnin Down a Dream

Michael Jacksons Journey from


Motown to Off the Wall

Rick Alverson

The American Epic Sessions

Entertainment

Waiting Far Away

The Damned: Dont You Wish That


We Were Dead

New Jerusalem

Trayectorias / Careers

The Jazz Loft According to W.


Eugene Smith

The Comedy

One World, One Sky: Big Birds


Adventure

The Builder

Grandma
Little Men

Cinefilias / Cinephilias
Harold and Lilian. A Hollywood
Love Story
Hitchcock/Truffaut
The 1000 Eyes of Dr. Maddin

Personas y Personajes /
People & Characters

Pasiones / Passions

Bob Byington

Funny Bunny

7 Chinese Brothers
Harmony and Me

Artes / Arts

RSO (Registered Sex Offender)

Uncle Howard

Somebody Up There Likes Me

Nocturna / Late Night


Green Room
The Missing Girl

Linefork

Matthew Barney
Cremaster 1 - 5

Nuts!

Lugares / Places

Michel Legrand

Our Nixon

Las Vegas in 16 Parts

El caso Thomas Crown

172

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careers

careers

11 Minutes
11 minut
11 minutos
Mltiples historias suceden y se cruzan en la moderna Varsovia, y demuestran todo lo que puede acontecer en un tiempo
breve pero suficiente para proporcionar un fascinante frenes
a una pelcula joven y arriesgada.

The multiple stories that take place and connect in modern


Warsaw prove all the things that can happen in a small period
of time that is yet long enough to provide a fascinating frenzy
to a young and risky film.

Estirar el tiempo, multiplicar las historias para que el relato regrese a los mismos instantes. Pero con ninguna concesin al
tedio y con un combate denodado contra la obviedad y el simple desarmado y rearmado sobre lo ya contado, como explot
el mexicano Irritu en parte de su filmografa. Estas historias
conectadas se cargan de tensin progresivamente, mediante
uniones alejadas del amor y cercanas al espanto. Todos tienen
sus razones, sus venganzas, sus miserias, sus intereses. O simplemente el azar une sus destinos de la peor manera posible. Es
decir, el azar o la sabidura maligna y vitrilica de Skolimowski,
que sabe por veterano pero ms sabe por diablo, por demiurgo
en pleno uso de sus capacidades cinematogrficas. Dicho de
forma breve: la explosiva y expansiva 11 Minutes es una pelcula imperdible. Javier Porta Fouz

Stretching time, multiplying the stories in order for the plot to go


back to the same instants. But avoiding any kind of tedium and
daringly battling against the obvious and the simple disarming
and rearming on whats already been told, something Mexican
director Irritu has exploited in part of his filmography. These
interconnected stories build up the tension through unions that
have more to do with terror than love. Everyone has their own
reasons, their own revenges, their own miseries, their own interests. Or maybe chance just joins their destinies in the worst
possible way. That is, chance or the malignant, vitriolic wisdom
of Skolimowski, who knows from experience but also for being
an old devil, an evil demiurge in his full cinematic power. In
short: the explosive, expansive 11 Minutes is a must-see. JPF

Jerzy Skolimowski

Polonia / Irlanda - Poland / Ireland, 2015


81 / DCP / Color / Polaco / Ingls - Polish / English

Naci en Lodz, Polonia, en 1938. Estudi cine en la Escuela de Lodz. Su


primer film fue Rysopis (1964). Luego dirigi, entre otros, Barrera (1966),
King, Queen Knave (1972),The Shout (1978), The Lightship (1985), Four
Nights with Anna (2008; Bafici 09) y Essential Killing (2010; Bafici 11).
He was born in Lodz, Poland, in 1938. He studied filmmaking at the
School of Lodz. Rysopis (1964) was his directorial debut. He later directed many films, including Barrera (1966), King, Queen Knave (1972), The
Shout (1978), The Lightship (1985), Four Nights with Anna (2008; Bafici
09) and Essential Killing (2010; Bafici 11).

174

D, G: Jerzy Skolimowski F: Mikolaj Lebkowski, Bernard Walsh


E: Agnieszka Glinska M: Pawel Mykietyn P: Ewa Piaskowska,
Jerzy Skolimowski CP: Skopia Film, Element Pictures
I: Richard Dormer, Paulina Chapko, Wojciech Mecwaldowski,
Andrzej Chyra, Dawid Ogrodnik
Contacto / Contact
The Festival Agency
T +33 954 904 863
E sarah@thefestivalagency.com
W thefestivalagency.com ~ 11minut.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

trayectorias

Between Fences
Entre cercas
Avi Mograbi decide empezar un taller de teatro en un centro de
detencin en el desierto israel, cerca de la frontera con Egipto.
All se alberga personas procedentes de Eritrea y Sudn, inmigrantes que no pueden regresar a sus pases, pero tampoco
tienen un futuro en Israel.

Avi Mograbi decides to start a theater workshop in a detention center located in the Israeli desert near the Egyptian border, which holds people from Eritrea and Sudan, immigrants
who arent able to return to their countries and dont have a
future in Israel.

El director teatral Chen Alon recupera los preceptos de Augusto


Boal y su denominado Teatro del Oprimido, y organiza una serie
de talleres en el Centro de Detencin de Holot, para los que
cuenta con un grupo de refugiados procedentes de Eritrea y
Sudn. Los miembros de esta compaa cuerpos vacos, inertes, sin estatus legal para las leyes de Israel encuentran en los
ensayos un modo de no renunciar a su identidad y recuperar
sus respectivos itinerarios vitales. La narracin oral, la gestualidad y, finalmente, la msica pasarn entonces a ser espacios de
resistencia y autoafirmacin frente a la barbarie y el sin sentido.
Avi Mograbi cede en su habitual querencia por la stira y lo
autorreferencial para entregarnos uno de los films ms generosos y extremadamente emocionantes de su carrera. Fran Gayo

Theater director Chen Alon brings back the precepts of Augusto


Boal and hi so-called Theater of the Oppressed, and organizes
a series of workshops at the Holot Detention Center with the
participation of refugees coming from Eritrea and Sudan. The
members of this company empty, inert bodies with no legal
status under Israeli legislation find in the rehearsals a way of
maintaining their identity and recover the itinerary of their lives.
Oral narration, gestures, and, in the end, music will then become areas of resistance and self-affirmation against barbaric
forces and nonsense. Avi Mograbi tones down his usual taste for
satire and self-reference and delivers us one of the most generous and extremely emotional films of his career. FG

Avi Mograbi
Naci en Israel en 1956. Estudi filosofa y arte, y dirigi varios cortos y
largos documentales, entre ellos August: A Moment Before the Eruption
(2002), Avenge But One of My Two Eyes (2005) y Z32 (2008; Bafici 09).
He was born in Israel in 1956. He studied philosophy and art, and directed
several documentary films, including August: A Moment Before the Eruption
(2002), Avenge But One of My Two Eyes (2005) and Z32 (2008; Bafici 09).

Francia / Israel - France / Israel, 2016 / 84 / DM / Color


rabe / Hebreo / Ingls - Arabic / Hebrew / English
D, G, E: Avi Mograbi F: Philippe Belleaiche DA: Chen Alon
S: Dominique Vieillard P: Camille Laeml, Serge Lalou, Avi Mograbi
CP: Les Films Dici, Avi Mograbi Films
Contacto / Contact
Doc and Film International. Fleur Pliskin
T +33 142 775 687
E assistant2@docandfilm.com
W docandfilm.com

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careers

Boris sans Batrice


Boris without Batrice
Boris sin Batrice
Un hombre de negocios comienza una relacin extramarital con
la joven que cuida a su esposa, una ministra de Canad que se
encuentra postrada en su cama a causa de una depresin.

A businessman starts an extramarital relationship with the


young woman who takes care of her wife, a Canada minister
who is bedridden due to depression.

Un sueo y una pesadilla (de clase), una libre representacin


de un examen de conciencia (del personaje o del cineasta), una
alegora materialista con reminiscencias a la mitologa griega, y
quizs tambin una tortura afectiva a los poderosos del mundo. Inclasificable, este es un indesmentible film de Denis Ct.
Un poderoso empresario ruso tiene que lidiar con la depresin
melanclica de su mujer, miembro del gabinete de gobierno. La
catatonia y amnesia de Beatrice est misteriosamente ligada
a la prepotencia y vanidad de Boris, quien tiene aventuras con
distintas empleadas y cuyos lazos familiares estn postergados
por la lgica de los negocios. En esas coordenadas simblicas,
Ct trabaja sobre los vnculos de sus personajes sin descuidar
la puesta en escena pletrica de pequeas decisiones formales
tan elegantes como circunspectas. Roger Koza

A dream and a (social class) nightmare, a free representation of


a conscience exam (for the character or the filmmaker), a materialist allegory with echoes of Greek mythology, and maybe also
an emotional torture for powerful people in the world. Unclassifiable, this is an undeniable film by Denis Ct.A powerful Russian
businessman has to deal with the melancholic depression suffered by his wife, a government cabinet member. Beatrices catatonia and amnesia are mysteriously linked to Boris arrogance
and vanity, as he carries affairs with different employees while
his family ties are postponed by the logic of business. On those
symbolic coordinates, Ct works on the relationships between
the characters without neglecting his plethoric setting, filled with
tiny formal decisions that are both elegant and circumspect. RK

Denis Ct

Canad - Canada, 2016 / 93 / DCP / Color


Francs / Ingls / Ruso - French / English / Russian

Naci en Canad en 1973, y estudi cine en el Collge Ahuntsic de


Montreal. Se desempe como periodista y realiz los largometrajes Les
tats Nordiques (2005; Bafici 06), Nos vies prives (2007, Bafici 08),
Elle veut le chaos (2008; Bafici 09), Carcasses (2009, Bafici 10), Curling
(2010; Bafici 11) y Bestiaire (Bafici 12).
He was born in Canada in 1973, and studied film at the Collge Ahuntsic
in Montreal. He worked as a journalist and directed the films Drifting
States (2005; Bafici 06), Our Private Lives (2007, Bafici 08), All That
She Wants (2008; Bafici 09), Carcasses (2009, Bafici 10), Curling
(2010; Bafici 11) and Bestiaire (Bafici 12).

176

D, G: Denis Ct F: Jessica Lee Gagn E: Nicolas Roy


DA: Louisa Schabas S: Frdric Cloutier,
Bernard Garipy-Strobl P: Sylvain Corbeil, Nancy Grant
PE: Michel Merkt CP: Meta Films I: James Hyndman,
Simone lise-Gerard, Denis Lavant, Isolda Dychauk, Dounia Sichov
Contacto / Contact
Films Boutique. Josephine Settmacher
T +49 306 953 7850
E josephin@filmsboutique.com
W filmsboutique.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

trayectorias

El nome de los rboles


The Name of the Trees
El nombre de los rboles
Un pequeo equipo de rodaje recorre Asturias en busca de los
lugares donde se desarrollaron las principales emboscadas
contra la Guerrilla Republicana (1937-1952). En ese viaje, se
encuentran con muchas personas dispuestas a compartir con
ellos sus recuerdos de aquellos tiempos.

Ramn Llus Bande document la investigacin que condujo a


su film Equ y notru tiempu, las excursiones para localizar los
lugares de la memoria y las conversaciones con los vecinos
que, con naturalidad, desvelan la represin de los militantes
republicanos que mantuvieron la lucha armada contra el franquismo tras la Guerra Civil. El resultado podra ser un mero extra
de DVD, pero no es el caso; esta es una pelcula extraordinaria,
tan sencilla como poderosa. Puede no haber pruebas para el
trabajo cientfico de los historiadores, o pueden estar ocultas,
pero lo que s tenemos es el relato del horror tal y como fue
preservado por los que lo vivieron y por sus descendientes. Una
inspiradora reivindicacin de la palabra y de la Historia contada:
la de un pas ms all de las versiones oficiales. Martin Pawley

Ramn Llus Bande


Naci en Xixn, Espaa, en 1972. Es escritor, cineasta y director de
videoclips. Entre sus pelculas se destacan El fulgor (2002; Bafici 03),
Estratexa (2003), Un retratu colectivu (2005) y Equ y notru tiempo
(2014; Bafici 15).
He was born in Xixn, Spain, in 1972. Hes a writer, a filmmaker, and
music video director. El fulgor (2002; Bafici 03), Estratexa (2003), Un
retratu colectivu (2005) and Equ y notru tiempo (2014; Bafici 15) are
some of his films.

A small film crew moves through Asturias in search of the


places where the main ambushes against the Republican
Guerrilla (1937-1952) took place. In that trip, they meet several
people willing to share with them their memories of that time.

Ramn Lluis Bande documented the research that lead him to


his film Equ y notru tiempu, the scouting trips to find the remembered areas, and the conversations with neighbors who
reveal in a natural way the repression against Republican activists who waged war against the Franco regime after the Civil
War. The result may very well be a DVD extra feature, but its
not the case here: this is an extraordinary film, as simple as it is
powerful. The scientific work of historians might not have proof,
or they may be hidden, but what we do have is the testimony
of horror, just as it was preserved on those who experienced it
and their descendants. This is an inspiring vindication of the
spoken word and the narrated history of a country, beyond official stories. MP

Espaa - Spain, 2015 / 102 / DCP / Color


Asturiano / Espaol - Asturian / Spanish
D, G: Ramn Llus Bande F: Juan A. Garca, E: Dani lvarez
S: Antonio De Benito P: Vera Robert CP: De la Piedra Producciones
I: Nicanor Rozada, Quilinol de Polio, Vicente Gutirrez Sols
Contacto / Contact
De la Piedra Producciones. Vera Robert
T +34 615 022 976
E vera.robert.r@gmail.com
W delapiedraproducciones.com

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careers

El rey de La Habana
The King of Havana
Reinaldo, un adolescente que acaba de escaparse de un centro
penitenciario, emprende su camino de regreso a La Habana.
La nostalgia, el ron y el sentido del humor son su nica compaa durante la travesa, hasta que conoce a Magda.

Reinaldo is a teenage boy who recently escaped from a penitentiary unit and sets on a journey back home to Havana. Nostalgia, rum, and his sense of humor are the only travel mates
he has, until he meets Marga.

El rey de La Habana debe tener uno de los comienzos ms terribles que se hayan filmado; sin embargo, esta serie de hechos
trgicos son mostrados con velocidad y sin miserabilismos. Lo
que sigue despus de eso toma caminos impredecibles y desaforados. Hay sexo (mucho y desprejuiciado), violencia (de vez
en cuando), hurto (alguno que otro) y hasta un ritual posiblemente mgico; todo en las calles marginales de la ciudad que
se anuncia en el ttulo. Mientras transcurre esto, sucede una
pelcula de antihroes que respira energa en un territorio donde
no hay tiempo para pensar en las desgracias pasadas y muy
poco margen para planificar un futuro. El mrito de la pelcula
est en que nos convence de que an en esos espacios hay lugar para momentos transitorios de luminosidad. Hernn Schell

The King of Havana must have one of the most terrible beginnings ever filmed; however, this series of tragic events is shown
at a fast pace and without any kind of sensationalism. Theres
sex (lots of it, and uninhibited), violence (sometimes), theft (a
few) and even a possibly magical ritual; all of this in the marginal
city announced in the title. While this happens, an energetic film
about antiheroes takes place, in a territory where theres no
time to think about past misfortune and very few chances of
planning a future. The films merit lies on convincing us that,
even in those spaces, theres place for temporary moments of
luminosity. HS

Agust Villaronga
Naci en Mallorca, Espaa, en 1953. Es licenciado en Geografa e Historia. Ha trabajado como profesor, director artstico, decorador, estilista y
realizador de videos de moda. Dirigi varios largometrajes, entre ellos, El
mar (2000) y Pan negro (2010).
He was born in Mallorca, Spain, in 1953. He majored in Geography and
History. He worked as a professor, an artistic director, a decorator, a stylist, and a fashion video-maker. He directed several feature-length films,
including El mar (2000) and Black Bread (2010).

178

Espaa / Repblica Dominicana - Spain / Dominican Republic


2015 / 124 / DCP / Color
Espaol - Spanish
D, G: Agust Villaronga F: Josep M. Civit E: Ral Romn DA: Alain
Ortiz S: Franklin Hernndez, Fernando Novillo M: Joan Valent P: Luisa
Matienzo PE: Luisa Matienzo, Celins Toribio CP: Pandora Cinema,
Tusitala PC I: Maykol David Tortol, Yordanka Ariosa, Hctor Medina
Contacto / Contact
Filmax Internacional. Ivn Daz
T +34 933 368 555
W filmaxint@filmax.com ~ filmaxinternational.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Foto / Photo: Tudor Lucaciu

trayectorias

El vecino
One Floor Below
Un etaj mai jos
Despus de haber sido el nico testigo de una pelea domstica que termina en un asesinato, Patrascu decide callarse y
continuar con su vida, hasta que el posible asesino comienza
a acercarse a su mujer y a su hijo.

After being the sole witness to a domestic fight that ended up


with a murder, Patrascu decides to keep quiet and move on
with his life, until the possible killer starts to get close to his
wife and son.

El director de Aquel martes despus de Navidad parte de una


premisa en apariencia ridcula (la bsqueda de un tesoro en el
jardn de una casa en la actualidad por parte de tres patticos
antihroes) para luego construir un film con mltiples alcances,
que tienen que ver con la tentacin, el miedo a ser descubierto
y castigado, el sentido de la aventura y la fantasa, y el orgullo
de un padre de ser el hroe para su pequeo hijo de seis
aos. Como suele ocurrir con los distintos trabajos de Corneliu
Porumboiu y con una parte importante de los exponentes del
nuevo cine de su pas, esta suerte de cuento de hadas absurdo
e inquietante propone varias lecturas con muy amplias connotaciones. Diego Batlle

The director of Tuesday, After Christmas starts with a premise that seems ridiculous (a treasure hunt in the garden of a
house lead by three pathetic antiheroes), and later builds a film
with multiple ranges that deal with temptation, the fear of being
discovered and punished, the sense of adventure and fantasy,
and a fathers pride for being a hero to his six year old son.
As it usually happens in the films from Corneliu Porumboiu and
most of the exponents of his countrys new cinema, this sort of
absurd and disturbing fairy tale lays out several interpretations
with varied connotations. DB

Radu Muntean
Naci en Bucarest, Rumania, en 1971. Dirigi cinco largometrajes, entre
ellos Boogie (2008; Bafici 09) y Aquel martes despus de Navidad (2011).
He was born in Bucharest, Romania, in 1971. He directed five featurelength films, including Boogie (2008; Bafici 09) and Tuesday, After
Christmas (2011).

Rumania / Francia / Alemania / Suecia


Romania / France / Germany / Sweden, 2015 / 93
DCP / Color / Rumano - Romanian
D: Radu Muntean G: Alexandru Baciu, Radu Muntean,
Razvan Radulescu F: Tudor Lucaciu E: Alexandru Radu
DA: Sorin Dima S: Andre Rigaut P: Dragos Vilcu CP: Multi Media Est
I: Teodor Corban, Iulian Postelnicu, Oxana Moravec
Contacto / Contact
Zeta Films. Carlos Pascual Zumbo
T +54 11 4371 4801
E info@zetafilms.com W zetafilms.com

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careers

Francofonia
Haciendo foco en el Louvre, espacio que las autoridades nazis
decidieron proteger durante la ocupacin que llevaron adelante durante la Segunda Guerra Mundial, y a travs del relato de
Jacques Jaujard y el conde Franz Wolff-Metternich, Sokurov
investiga la relacin del arte con el poder.

Sokurov inquires into the connection between art and power


by focusing on the Louvre a place Nazi authorities decided to
protect during their occupation in World War II and through
the testimonies of Jacques Jaujard and Count Franz WolffMetternich.

Suerte de secuela de El arca rusa, Francofonia es mucho ms


que la simple historia del museo ms emblemtico de Francia.
Para el cineasta ruso, el Louvre es el eptome de toda la cultura
occidental, algo que refleja el episodio central de este ensayo
en el que se combinan las reflexiones en primera persona con
las imgenes de archivo y las reconstrucciones. A travs de la
relacin entre el director del Louvre y el oficial nazi que protegi
los tesoros del museo desoyendo las rdenes de destruccin
de sus superiores, Sokurov establece un demoledor paralelismo
entre la ocupacin de Pars y el sitio de Leningrado, entre el
laissez faire de unos y la resistencia numantina de otros; en definitiva, entre el respeto de una cultura compartida y el borrado
de otra, la eslava, a la que se aborreca. Jaime Pena

A sort of sequel to The Russian Ark, Francofonia is more than


a simple story of the most emblematic museum in France. For
the Russian filmmaker, the Louvre is the summary of all Western
culture, and we can see this in the main chapter of this essay
that combines first-person reflections with archive footage and
reconstructions. Through the relationship between the Louvre
director and the Nazi officer who protected those world treasures against the destruction orders from his superiors, Sokurov establishes a devastating parallel between the occupation
of Paris and the siege of Leningrad, between one sides laissez
faire and the others heroic resistance. In the end, its between
the respect for a shared culture, and the erasing of another,
despised one: the Slavonic. JP

Aleksandr Sokurov
Naci en 1951 en Siberia. Estudi historia y luego ingres al Instituto de
Cinematografa de Mosc. En 2002 Bafici le dedic un foco a su cinematografa y se proyectaron Spiritual Voices (1995), A Humble Life (1997) y
Elegy of a Voyage (2001).
He was born in 1951 in Siberia. He studied history and later entered the
Moscow Film Institute. In 2002, Bafici held a Focus on his work, with
screening of Spiritual Voices (1995), A Humble Life (1997) and Elegy of
a Voyage (2001).

Francia / Alemania / Holanda - France / Germany / Netherlands,


2015 / 87 / DCP / Color / Ruso / Francs / Alemn
Russian / French / German
D, G: Aleksandr Sokurov F: Bruno Delbonnel E: Alexei Jankowski,
Hansjorg Weissbrich S: Andre Rigault, Jac Vleeshouwer, Ansgar Frerich
M: Murat Kabardokov P: Pierre-Olivier Bardet, Thomas Kufus, Els
Vandevorst, Olivier Pere, Remi Burah CP: Ideale Audience, Zero One
Film, N279 Entertainment, Arte France Cinema, Le Musee du Louvre
I: Louis-Do de Lencquesaing, Benjamin Utzerath, Vincent Nemeth,
Johanna Korthals Altes
Contacto / Contact
CDI Films W cdifilms.com.ar

180

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Garoto
Kid
Nio
El cineasta brasileo cuenta la historia de amor de dos jvenes que se encuentran en un lugar encantado en el que
viven un romance. Pero todo cambiar cuando uno de ellos
cometa un delito.

The Brazilian filmmaker tells the love story of two youngsters who meet and have a love affair in an enchanted
place. But everything will change when one of them commits a felony.

Bressane empieza siempre de nuevo, o hace como si empezara,


con un impulso y una distincin potica que parecen pertenecerle solo a l mismo. Un chico y una chica deambulan por un
paisaje que podra ser la representacin ms o menos acreditada de alguna clase de paraso; ligera pero pedestre, una
disposicin del espritu ms que una altura celeste de carcter
sublime. En definitiva, se trata de una historia de pareja: arrobamiento, recelos, ruptura, prdida de la alegra, soledad y acaso
reencuentro. El director filma con una gracia deslumbrante y
la serenidad de un autntico maestro; cada plano remite a la
belleza aorada de un cine que pareca perdido para siempre
y nos recuerda la naturaleza de fragilidad esencial que rige el
destino de los personajes. David Obarrio

Bressane is constantly starting from scratch or he does so as if


he were with a kind of impulse and poetic distinction that seem
to be his exclusive property. A boy and a girl wander around a
setting that may very well be the rather accurate representation
of some sort of paradise: light and yet pedestrian, a disposition
of the spirit rather than a sublime, heavenly scenario. In the end,
its about a couple: rapture, mistrust, rupture, lost joy, loneliness,
and perhaps a reunion. The director works with a dazzling grace
and the serenity of a true master. Every shot reminds us of the
essentially fragile nature that rules over the characters fate. DO

Jlio Bressane

Brasil - Brazil, 2015


76 / DCP / Color
Portugus - Portuguese

Naci en Brasil en 1946. Dirigi numerosos largometrajes, entre ellos


Miramar (1997), Filme de amor (2003) y Cleopatra (2007), exhibidos en
la retrospectiva que le dedic el Bafici en 2013.
He was born in Brazil in 1946. He directed several feature-length films
including Miramar (1997), Filme de amor (2003) and Cleopatra (2007),
screened in the retrospective of his work held by Bafici in 2013.

D: Jlio Bressane G: Jlio Bressane, Rosa Dias F: Pepe Schettino


E: Rodrigo Lima DA: Moa Batsow S: Damio Lopes
M: Guilherme Vaz P: Jlio Bressane, Bruno Safadi
PE: Fernanda Romero CP: TB Produes I: Marjorie Estiano,
Gabriel Leone, Josie Antello
Contacto / Contact
TB Produes. Bruno Safadi
T +55 21 988 618 880
E tbproducoes@gmail.com

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Grandma
Abuela
Elle rompe con su novia Olivia cuando su nieta Sage aparece
inesperadamente pidindole dinero. An dolidas por su separacin, ambas pasarn todo el da visitando a antiguos amigos,
lo que har que comiencen a develarse secretos del pasado.

Elle breaks up with her girlfriend Olivia when her granddaughter Sage appears unexpectedly and asks her for money. They
end up spending the day visiting old friends, which will make
some secrets from the past come to light.

Grandma abre con una cita de Eileen Myles (El tiempo pasa,
eso seguro) sucedida por la placa Finales. As, antes de que
se nos presente a Elle, ya podemos conocerla. La divisin episdica tiene una connotacin literaria que revela que esa mujer
misntropa hace de la palabra su aliada en la confrontacin.
Luego de perder a su esposa, se recluye en su casa y se mueve
desprendida del entorno. Asimismo, el tiempo pasa para Sage,
la nieta adolescente que le golpea la puerta para plantear la
urgencia: est embarazada y necesita dinero para un aborto.
El quiebre de los estereotipos tiene como germen el brusco
choque de Sage con su abuela, quien no tiene plata pero s
un Dodge modelo 55 que les permitir emprender un road trip
para solucionar el conflicto. Desde una clnica devenida caf
hasta una edicin devaluada de La mstica femenina, en ese
recorrido Elle sale de su burbuja para reconocer que la vida que
llevaba ya no la representa. Milagros Amondaray

Grandma opens with a quote by Eileen Myles (Time passes, thats


for sure) followed by a card with the word endings. This way,
we can get to know Elle before her being introduced to us. The
episodic division has a literary connotation that reveals this misanthropic woman turns words into her allies during confrontation.
After losing her wife, she locks herself up at her home and moves
around detached from her environment. Likewise, time goes by for
Sage, the teenage granddaughter who knocks on her door to pose
an urgency she is pregnant and needs money for an abortion. The
breakdown of stereotypes has the sharp clash between Sage and
her grandmother as its root. The latter has no money, but she does
own a 55 Dodge that will allow them to embark on a road trip in
order to solve the conflict. From a caf that used to be a clinic to a
devalued edition of The Feminine Mystique, it is during this journey
that Elle comes out of her bubble and acknowledge that her past life
hasnt represented her for a while. MA

Paul Weitz

Estados Unidos - US, 2015 / 79 / DCP / Color / Ingls - English

Naci en Nueva York en 1965. Comenz a trabajar en cine junto a su


hermano Chris, con quien ha codirigido tres pelculas: American Pie
(1999), De vuelta a la tierra (2001) y Un gran chico (2002). Entre las pelculas que ha dirigido l solo se encuentran En buena compaa (2004) y
Los pequeos Focker (2010).
He was born in New York in 1965. He started working in films along with
his brother Chris, with whom he has co-directed three films: American
Pie (1999), Down to Earth (2001) and About a Boy (2002). Among the
films he has directed independently are In Good Company (2004) and
Little Fockers (2010).

182

D, G: Paul Weitz F: Tobias Datum DA: Cindy Chao, Michele Yu


M: Joel P. West P: Paul Weitz, Andrew Miano, Terry Dougas,
Paris Latsis PE: Stephanie Meurer, Dan Balgoyen,
Danielle Renfrew Behrens I: Lily Tomlin, Julia Garner, Marcia Gay
Harden, Judy Greer, Laverne Cox
Contacto / Contact
Sony Pictures in Argentina. Cecilia Chiappano
E info@uipargentina.com.ar
W uip.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

trayectorias

Informe general II.


El nuevo rapto de Europa
General Report II. The New Abduction of Europe
La pelcula ms reciente de Pere Portabella trata la dimensin
poltica, econmica, social y cultural de la crisis actual de la
democracia parlamentaria y los movimientos sociales surgidos del 15-M.

The latest film by Pere Portabella deals with the political, financial, social, and cultural dimensions of the current crisis in
the countrys parliamentary democracy and social movements
emerged after 15-M.

Con un desapego de dandy y la severidad sensible del que se


zambulle con la misin de retratar un mundo que parece alterarse en cada parpadeo, Pere Portabella consigue las imgenes
ms libres y no comprometidas de los asuntos municipales que
a priori ms se prestaban a las artimaas de una contemplacin
arrobada. Manifestaciones fervorosas en la Puerta del Sol de
Madrid, asambleas, acampes, marchas de los partidarios del
independentismo cataln, actos en los que la agrupacin Podemos ofrece al mundo sus primeros balbuceos: retratos de un
universo cotidiano que adquieren en la distancia rasgos oblicuos, casi extraterrestres. Informe general II no parece tomar
partido, excepto por el de una falta de certezas radical. La elegancia formal de la pelcula es capaz de contener las imgenes
en una lejana cuya marca constitutiva indeclinable no es otra
que un signo de interrogacin. David Obarrio

With a dandy-like detachment and the sensible severity of those


who dive on a mission to depict a world that seems to be constantly changing, Pere Portabella captures free, uncompromised
images of municipal affairs that could have been tempered with
by an enchanted contemplation. Fervent demonstrations at Madrids Puerta del Sol, assemblies, camps, marches of Catalonian independence supporters, rallies where Podemos speaks
its first words to the world: these are all portraits of an everyday
universe that acquires strange, almost extraterrestrial features
when seen from a distance. General Report II doesnt seem to
pick a side, except for the one of a complete lack of certainties.
The formal elegance of the film is capable of containing the
images in a distant place whose essential characteristic is a
question mark. DO

Pere Portabella
Naci en Figueras, Espaa, en 1929. Con su productora Films 59 estuvo detrs de pelculas como El cochecito (1960), de Marco Ferreri, y
Viridiana (1961), de Luis Buuel. Entre sus pelculas como director se
encuentran Vampir-Cuadecuc (1970), exhibida en el foco que le dedic
el Bafici 06, y Die Stille vor Bach (2007; Bafici 08).
He was born in Figueras, Spain, in 1929. His production company Films
59 was behind sich films as Marco Ferreris The Little Coach (1960),
and Luis Buuels Viridiana (1961). He directed several films, including
Vampir-Cuadecuc (1970), screened in the focus on his work held by
Bafici 06 and Die Stille vor Bach (2007; Bafici 08).

Espaa - Spain, 2015 / 126 / DCP / Color


Espaol / Cataln - Spanish / Catalan
D: Pere Portabella F: Elisabet Prandi E: skar Gmez
S: Albert Manera P: Pasqual Otal CP: Films 59 I: Ada Colau,
Paul B. Preciado, Iigo Errejn, Manuel Borja-Villel
Contacto / Contact
Films 59. Pasqual Otal
T +34 932 155 612
E produccio@films59.com
W films59.com ~ informegeneral2.com

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Journal dune femme de chambre


Diary of a Chambermaid
Diario de una camarera
Adaptacin de la novela homnima de Octave Mirbeau. En un
pueblo de Normanda a fines del siglo XIX, la joven y bella Celestine va anotando en su diario ntimo los acontecimientos de
su llegada a una gran mansin como sirvienta de una familia
burguesa.

An adaptation of the homonymous novel by Octave Mirabeau.


Set in a town in Normandy in the late 19th century. The young
and beautiful Celestine writes down on her journal the details
of her arrival to a big mansion to serve a bourgeois family.

Luego de Jean Renoir en 1946 y de Luis Buuel en 1964, ahora


le toca a Benot Jacquot darle a la novela de Octave Mirbeau un
toque del siglo XXI. Mirbeau escribi esta novela en 1900 como
un ataque a la sociedad parisina luego del escndalo de Dreyfus
en 1894, y Jacquot no dej afuera ningn elemento de stira
social. Pero el suyo es un viaje ms personal, que gira alrededor
del personaje de la mucama. La Clestine de La Seydoux es
una pcara joven que siente que la vida no la ha tratado bien.
Es obligada a servir a mujeres de clase media que desconfan
de su belleza y a sus mujeriegos maridos que quieren poner
en prctica el anticuado derecho de pernada. La pelcula de
Jacquot es menos abiertamente poltica que sus antecesoras,
pero es un fascinante retrato de un sistema de clases y una
mentalidad que an hoy hacen mella. Judith Prescott

After Jean Renoir in 1946 and Luis Buuel in 1964, its down to
Benot Jacquot to give Octave Mirabeaus novel a 21st century
twist. Mirabeau wrote his novel in 1900 as an attack on Parisian
society following the Dreyfus scandal in 1894, and Jacquots
film has removed none of the intended social satire. But his is
more of a personal journey based around the character of the
chambermaid. La Seydouxs Clestine is a sassy young woman
who feels life has dealt her a dud hand. She is forced to serve
both middle class women who mistrust her beauty and their
philandering husbands who want to exercise an outdated Droit
de Seigneur. Jacquots film is less overtly political than those
of his predecessors, but its a fascinating portrayal of a class
system and mindset that still resonate today. JP

Benoit Jacquot

Francia / Blgica - France / Belgium, 2015


95 / DCP / Color / Francs - French

Naci en Pars en 1947. Dirigi una veintena de largometrajes, entre los


que se destacan sus cuatro colaboraciones con la actriz Isabelle Huppert,
adems de Villa Amalia (2009; Bafici 15) y Adis a la reina (2012).
He was born in Paris in 1947. He directed twenty feature-length films,
including four collaborations with actress Isabelle Huppert, as well as Villa
Amalia (2009; Bafici 15) and Farewell, My Queen (2012).

D: Benoit Jacquot G: Helene Zimmer, Benoit Jacquot


F: Romain Winding E: Julia Gregory DA: Katia Wiszkop
S: Pierre Mertens M: Bruno Coulais P: Jean-Pierre Guerin
PE: Kristina Larsen CP: Les Films du Lendeman, JPG Films
I: La Seydoux, Vincent Lindon
Contacto / Contact
Elle Driver. Smira Hedayati
T +33 156 434 879
E semira@elledriver.eu W elledriver.fr

184

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trayectorias

LAvenir
Things to Come
El porvenir
Nathalie ensea filosofa en una escuela secundaria en Pars.
Casada y con dos hijos, divide su tiempo entre su familia, sus ex
alumnos y su madre. Un da, su marido anuncia que la abandona
por otra mujer y ella debe seguir adelante sola.

Nathalie teaches philosophy in a Paris high school. Shes married with two kids, and divides her time between her family,
her former students, and her mother. One day, her husband
announces hes leaving her for another woman, and she must
carry on alone.

Ambientada en 2010, todava bajo la presidencia de Sarkozy,


Mia Hansen-Lve nos habla en LAvenir del trasfondo intelectual
de una poca de cambios continuos; los que experimenta el personaje que interpreta Isabelle Huppert, pero tambin los cambios
en los modelos de lucha y militancia poltica que enfrentan a los
nostlgicos del 68 con las nuevas generaciones. Ella es profesora de filosofa, y la filosofa forma parte de las conversaciones
con total naturalidad uno de esos milagros del cine francs:
el ser capaz de integrar discusiones sobre Rousseau, Adorno,
Anders o Unabomber sin resultar en absoluto pedante. Justo
al contrario, resulta deslumbrante la ligereza con la que HansenLve nos presenta a sus personajes, tanto como la agilidad con
la que LAvenir est narrada. Jaime Pena

Set in 2010, still during Sarkozys presidency, Mia HansenLves Things to Come talks about the intellectual backdrop of a
time of continuous change; those experimented by the character played by Isabelle Huppert but also the changes in the forms
of struggle and political activism that set the nostalgic of 68
against the new generations. She is a philosophy professor, and
philosophy plays a part in conversations naturally one of the
miracles of French cinema: being able to include discussions
about Rousseau, Adorno, Anders or the Unabomber without it
being pedantic at all. On the contrary, its amazing how lightly
Hansen-Lve introduces us to her characters, and also how
nimbly Things to Come is narrated. JP

Mia Hansen-Lve
Naci en Pars, Francia, en 1981. Dirigi el cortometraje Aprs mre
rflexion (2004) y los largometrajes Tout est pardonn (2007; Bafici 08),
El padre de mis hijos (2009) ganadora del Premio Especial del Jurado
en Un Certain Regard del Festival de Cannes, Un amour de jeunesse
(Bafici 12) y Eden (2014).
She was born in Paris, France, in 1981. She directed the short film Aprs
mre rflexion (2004) and the feature length films Tout est pardonn
(2007; Bafici 08), Father of My Children (2009), winner of a Special
Jury Prize at Cannes Un Certain Regard, Goodbye First Love (Bafici 12)
and Eden (2014).

Francia / Alemania - France / Germany


2016 / 100 / DCP / Color / Francs - French
D, G: Mia Hansen-Lve F: Denis Lenoir E: Marion Monnier
DA: Anna Falgures S: Vincent Vatoux P: Charles Gillibert
CP: CG Cinema I: Isabelle Huppert, Andr Marcon,
Roman Kolinka, Edith Scob, Sarah Le Picard
Contacto / Contact
Les Films du Losange
T +33 6 637 469
E sales@filmsdulosange.fr ~ m.gouloise@ filmsdulosange.fr
W filmsdulosange.fr

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careers

La academia de las musas


The Academy of the Muses
Un profesor de filosofa es interrogado por su mujer, quien desconfa del enfoque pedaggico de un proyecto educativo en el
que el hombre debate sobre literatura con sus alumnas. Poco
a poco, la teora del profesor va pasando a la prctica hasta
convertirse en un ejercicio de seduccin.

A philosophy professor finds himself interrogated by his wife,


since she doesnt trust the pedagogical approach of an educational project in which the man discusses literature with his
female students. The professors theory will progressively turn
practical, to the point it turns into an exercise on seduction.

La academia de las musas es una experiencia en s misma que


interroga, iguala y confronta la vida y la experiencia, el arte y
el amor, la seduccin y el deseo. Estos tpicos son atravesados por el lenguaje, por aquello de lo que estamos hechos, por
aquello de lo que somos prisioneros: las palabras. Las miradas
sensibles de las mujeres en esos primeros planos contrastan
con la mirada ms racional del hombre, ese profesor que seduce y enamora a sus alumnas. La pelcula construye una perfecta armona, una meloda que teje reflejos mostrando rostros
y gestos donde la realidad est mediada por esos cristales, a
veces lluviosos y a veces soleados. El maestro Guern vuelve a
seducirnos conjugando magistralmente la vida y el arte en una
pelcula inolvidable. Marcela Gamberini

The Academy of the Muses is a unique experience that questions, balances, and confronts life and experience, art and love,
seduction and desire. These topics are crossed by language,
that thing were made and remain prisoners of: words. The sensitive close-ups of those women contrast the more rational view
of the man, a professor who seduces his students and makes
them fall in love with him. The film builds a perfect harmony, a
melody that weaves reflections by showing faces and gestures,
where reality is interceded by these crystals that are occasionally rainy, or sunny. Master Guern seduces us again, melting life
and art into an unforgettable film. MG

Jos Luis Guern


Naci en Barcelona en 1960, y en 1983 debut como director con Los motivos de Berta. Luego dirigi una decena de largos, entre los que se destacan En construccin (Bafici 02), En la ciudad de Sylvia (2007; Bafici 08)
y Unas fotos en la ciudad de Sylvia (2007; Bafici 08). Es profesor de cinematografa en la Universidad Pompeu Fabra en su ciudad.
He was born in Barcelona in 1960, and in 1983 made his directorial debut
with Los motivos de Berta. He later directed a dozen films, including En
construccin (Bafici 02), In the City of Sylvia (2007; Bafici 08) and Unas
fotos en la ciudad de Sylvia (2007; Bafici 08). He is a cinematography
professor at the Pompeu Fabra University in that city.

186

Espaa - Spain, 2015 / 92 / DCP / Color


Espaol / Italiano / Cataln - Spanish / Italian / Catalan
D, G, E: Jos Luis Guerin S: Marisol Nievas P: P. C. Guerin
CP: Orfeo Films I: Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns,
Mireia Iniesta
Contacto / Contact
P. C. Guerin, Orfeo Films. Nuria Esquerra, Federico Delpero Bejar
T +34 608 450 760
E losfilmsdeorfeo@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

trayectorias

La calle de la amargura
Bleak Street
Inspirado en los hechos reales sucedidos en 2009 y de gran
resonancia meditica, el mtico director mexicano cuenta la
historia de dos prostitutas de suerte esquiva que, una noche
en la que nada sale del todo bien, asesinan accidentalmente a
dos luchadores enanos.

Inspired in the real events that grabbed headlines in 2009, the


mythical Mexican director tells the story of two unlucky prostitutes who accidentally murdered two midget wrestlers on a
night when nothing went right.

Es que acaso la experiencia no cuenta?, pregunta en La calle de la amargura una prostituta a la que los aos le pasaron
factura, pero tambin podra ser un guio de Arturo Ripstein,
que sabe por diablo y por viejo. Este melodrama expresionista, basado en la historia real del asesinato de dos hermanos
liliputienses y luchadores de catch, es un relato sobre las nulas
posibilidades de progreso de una sociedad hundida en la miseria y en el resentimiento. En el Mxico que retrata Ripstein no
hay vctimas y victimarios: todos sufren por igual. Narrada en un
esplndido blanco y negro (que a la tragedia siempre le sienta
bien), La calle de la amargura es una muestra ms del talento
de un director que nada tiene que envidiarle a su maestro Luis
Buuel, de quien est cada da ms cerca. Luciana Calcagno

Doesnt experience count?, asks a prostitute in Bleak Street


to whom age hasnt been kind, but it could also be Arturo
Ripsteins wink, who sure knows things from experience. This
expressionistic melodrama, based on the real-life story of the
murder of two Lilliputian wrestler siblings, is a tale about the
non-existent possibilities of progress of a society buried in
misery and resentment. In the Mexico portrayed by Ripstein,
there are no victims and murderers: everyone suffers equally.
Narrated in a splendid black and white (which always becomes
tragedy), Bleak Street is further proof of the talent of a director
who has no nothing to envy his master Luis Buuel, to whom
hes closer and closer every day. LC

Arturo Ripstein

Mxico / Espaa - Mexico / Spain, 2015 / 100


DCP / B&N / Espaol - Spanish

Naci en Mxico en 1943, y comenz su carrera cinematogrfica como


asistente de direccin de Luis Buuel. Debut como director con Tiempo
de morir (1966), escrita por Gabriel Garca Mrquez y Carlos Fuentes,
y entre sus ms de veinte largometrajes se encuentran El castillo de la
pureza (1972), La mujer del puerto (1991) y Profundo carmes (1996).
He was born in Mexico in 1943, and started his film career as an assistant director for Luis Buuel. He debuted with Time to Die (1966), written
by Gabriel Garca Mrquez and Carlos Fuentes, and directed more than
twenty films, including The Castle of Purity (1972), Woman of the Port
(1991) and Deep Crimon (1996)

D: Arturo Ripstein G: Paz Alicia Garciadiego F: Alejandro Cant


E: Carlos Puente DA: Marisa Pecanins S: Antonio Diego
P: Walter Navas PE: Xanat Briceo, Luis Alberto Estrada
CP: Productora 35, Wanda Visin I: Patricia Reyes Spndola,
Silvia Pasquel, Nora Velzquez
Contacto / Contact
Latido Films. Marta Hernando
T +34 915 488 877
E latido@latidofilms.com W latidofilms.com

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Le Bois dont les rves sont faits


The Woods Dreams Are Made of
El bosque del que estn hechos los sueos
El bosque como lugar de escape es, para muchos, sinnimo
de refugio y de bienestar. All, la cineasta observa la tensin
citadina de aquellos que se encuentran con un espejismo soado y se permiten dejar en silencio todo aquello que pareca
ser una dificultad.

For many, the forest as an escape place is a synonym of


shelter and comfort. In that location, the director observes
the urban tension of those who find a dream-like mirage and
allow themselves to silent anything that appeared to stand
as an obstacle.

Cuestin de ritmo, cuestin de estructura, cuestin de sabidura


en la disposicin de situaciones. La pelcula de Claire Simon
es una excursin al Bosque de Vincennes, pero no es una exploracin de un lugar, sino de los variados usos y vivencias de
ese lugar. En su propuesta de retratos mltiples, la descripcin
deja lugar a pequeos relatos sucesivos los temas van desde
el sexo hasta la pesca de ejemplares sorprendentes, pasando
por muchos otros que parecen emanar del lugar, abierto y a
la vez lleno de misterios y posibilidades. O eso es lo que nos
hacen creer el ritmo, la estructura y la sabidura que despliega
esta cineasta que mira el mundo o cualquier micromundo y
lo devuelve con una fluidez tan evidente como extraordinaria.
Javier Porta Fouz

A question of rhythm, structure, and wisdom in the organization


of situations. This film by Claire Simon is a tour into the Bois de
Vincennes, yet its not an exploration of the site, but rather of
the diverse uses and experiences the place has to offer. With its
multiple portraits, the films description gives way to little successive stories the themes range from sex to fishing surprising
specimens, as well as many others that seem to emerge from
that place, which is both open and filled with mysteries and
possibilities. Or at least that is what we are lead to think by the
rhythm, structure, and wisdom this filmmaker exhibits, as he
observes the world or any micro-universe for that matter and
returns it to us with an evident and extraordinary fluency. JPF

Claire Simon
Naci en Londres en 1955. Se desempea tambin como actriz, directora de fotografa y montajista. Dirigi varios cortometrajes, documentales y largometrajes de ficcin. Algunos de ellos fueron exhibidos en el
Festival, como Les Bureaux de Dieu (2008; Bafici 09), Cote que cote
(1995; Bafici 12) y Gare du Nord (2013; Bafici 14).
She was born in London in 1955. She also works as an actress, cinematographer, and film editor. She directed several short films, documentaries and fiction films. Some of them were screened at the Festival, like
Gods Offices (2008; Bafici 09), At All Costs (1995; Bafici 12) and Gare
du Nord (2013; Bafici 14).

188

Francia / Suiza / Blgica - France / Switzerland / Belgium, 2015


144 / DCP / Color
Francs - French
D, G, F, DA: Claire Simon E: Luc Forveille S: Olivier Hespel, Franois
Musy, Gabriel Hafner P: Jean-Luc Ormieres CP: Just Sayin Films
Contacto / Contact
Be for films. Claire Battistoni
T +32 485 147 390
E festival@beforfilms.com
W beforfilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

trayectorias

Little Men
Pequeos hombres
Dos chicos de orgenes distintos conviven en un edificio de
Brooklyn, forjan una amistad y deambulan juntos por la ciudad.

Two kids with different origins who live in the same Brooklyn
building become friends and wander around town together.

Una fbula con dos protagonistas involuntarios, Jake y Tony, dos


chicos de unos 13 aos que, a medida que descubren sus mltiples afinidades, son testigos del enfrentamiento entre sus respectivos padres. La disputa abarca aspectos econmicos, pero
tambin generacionales, formas contrapuestas de entender la
amistad y la fidelidad. Por supuesto, como sucede en todo el
cine de Ira Sachs, el conflicto afecta tambin a la integracin de
los inmigrantes (aqu la chilena Paulina Garca), pero Little Men
es una pelcula ms de personajes que de temas; una pelcula
que, por lo tanto, quiere comprender a sus personajes y que estos, especialmente los ms jvenes y sin falsas demagogias, se
entiendan entre ellos. Su mismo final constituye toda una vuelta
de tuerca al concepto de happy ending tradicional. Jaime Pena

A fable with two involuntary protagonists, Jake and Tony, two


kids of about 13 years of age who, while discovering their multiple things in common, must witness the confrontation between
their respective parents. The dispute covers economic aspects,
but also generational; opposing ways of understanding friendship and fidelity. Of course, as usual in Ira Sachs cinema, the
conflict also affects the adjustment of immigrants (in this case,
Chilean Paulina Garca), but Little Men is more of a film about
characters than themes; a film that, therefore, wants to understand its characters, and wants them, especially the younger
ones and without false demagogies, to understand each other.
Its very ending constitutes a twist on the concept of the traditional happy ending. JP

Ira Sachs

Estados Unidos - US, 2016 / 85 / DCP / Color


Ingls / Espaol - English / Spanish

Naci en Memphis, Tennessee, en 1965. Estudi literatura y teora cinematogrfica en la Universidad de Yale, y tras graduarse se estableci en
Nueva York. Dirigi los largometrajes The Delta (1997), Forty Shades of
Blue (2004; Bafici 12), y Keep the Lights On (2012), entre otros.
He was born in Memphis, Tennessee, in 1965. He studied literature and
film theory at the University of Yale and moved to New York after graduating. He directed several films, including The Delta (1997), Forty Shades
of Blue (2004; Bafici 12), and Keep the Lights On (2012).

D: Ira Sachs G: Mauricio Zacharias, I. Sachs F: scar Durn


E: Mollie Goldstein, Affonso Gonalves DA: Alexandra Schaller
S: Damian Volpe M: Dickon Hinchliffe P: Lucas Joaquin, I. Sachs,
Christos V. Konstantakopoulos, Jim Lande, L. A. Teodosio
PE: Jay Van Hoy, Lars Knudsen CP: Faliro House Productions,
Parts & Labor Films, RT Features, Race Point Films, Raptor Films, Waters
End Productions I: G. Kinnear, J. Ehle, P. Garcia, T. Taplitz, M. Barbieri
Contacto / Contact
Pascale Ramonda T +33 6 6201 3241
E pascale@pascaleramonda.com W pascaleramonda.com

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PREMIERE LATINOAMERICANA / LATAM PREMIERE

careers

Mallory
Mallory est decidida a dar un giro rotundo a su existencia.
Nada ha sido sencillo para ella, pero el nacimiento de su hijo la
encuentra ante un desafo que quiere superar: abandonar por
completo su adiccin a las drogas y dejar de vivir en la calle.

Mallory is determined to completely change her existence.


Nothing has ever been easy for her, but the birth of her son
faces her with a challenge she wants to overcome: clean herself up from her drug addiction and find a place to live other
than the street.

Ex adicta, madre coraje, metedora de pata compulsiva, orgullosa portadora de remeras de Cannibal Corpse y Mtorhead,
incansable buscavidas. Es difcil no empatizar con un personaje
as, con una herona tan loachiana en su lucha contra sus demonios internos, contra los cantos de sirena de las adicciones
pasadas, pero tambin contra las inexplicables estructuras
burocrticas de la Ley que parecen existir solo para sostener
su propia existencia. Trestkov relata esta odisea sin protagonismo ni ubicuidad. Luego de cada intervalo en el seguimiento
de la vida de Mallory, notamos que est igual, mejor o se fue
completamente al demonio. Para Trestkov, obsesionada desde
siempre por los cambios y continuidades a lo largo del tiempo,
no importa tanto mostrar los puntos de quiebre, los grandes sucesos, sino la inquebrantable persistencia de una batalla sufrida
y usualmente annima. Juan Pablo lvarez

A former addict, a Mother Courage who screws up compulsively,


proud owner of Cannibal Corpse and Mtorhead t-shirts, tireless
go-getter. Its hard not to empathize with such a character, with
such a loachian heroine, in her struggle against her inner demons, against the siren calls of past addictions, but also against
the inexplicable bureaucratic structures of the Law that seem to
exist only to support her own existence. Trestkov relates this
odyssey without attracting attention or being ubiquitous. After
each interval in her following of Mallorys life, we notice shes
the same, has gotten better or that everything has gone to hell.
To Trestkov, who has always been obsessed with changes and
continuities through time, its not about showing the breaking
points, the big events, but the unbreakable persistence of a
long-suffering, usually anonymous battle. JPA

Helena Trestkov
Naci en 1949 en Praga, entonces Checoslovaquia. Se gradu en el
Departamento de Cine Documental en la FAMU de esa ciudad. Se desempe como Ministra de Cultura de su pas, y dirigi numerosos documentales, entre ellos Ren (1993), Carmen Story (1999), My Lucky Star (2004)
y Marcela (2007), exhibidos en el foco que le dedic el Bafici en 2009.
She was born in 1949 in Prague, in the former Czechoslovakia. She
graduated from the Documentary Film Department at the local FAMU.
She served as Ministry of Culture in her country and directed several
documentaries, including Ren (1993), Carmen Story (1999), My Lucky
Star (2004) and Marcela (2007) all of them screened in the Focus held
by Bafici in 2009.
190

Repblica Checa - Czech Republic, 2015


101 / DCP / Color & B&N
Checo - Czech
D, G: Helena Trestkov F: Miroslav Soucek, Vlastimil Hamernk, Robert
Novk, David Cysar, Jir Chod, Jakub Hejna E: Jakub Hejna S: Richard
Mller M: Tades Vrck P: Katerina Cern, Pavel Strnad PE: Hana
Trestkov CP: Negativ, Czech Television I: Mallory Neradov
Contacto / Contact
Negativ. Daniel Vadocky
T +420 777 697 543
E daniel@negativ.cz W negativ.cz

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

trayectorias

Microbe et Gasoil
Microbe & Gasoline
Microbio y Gasolina
Dos jvenes amigos se embarcan en un viaje por la carretera a
travs de Francia en un vehculo construido por ellos mismos.

Two young friends embark on a trip the highway across France


in a vehicle they built on their own.

Considrenla la anti-Supercool. Microbe et Gasoil es un retrato


dulce, honesto y redondo de la amistad masculina adolescente,
que favorece el optimismo por sobre la melancola y, si bien
no ignora el sexo, no est obsesionado con l. La pelcula est
filmada con oficio, pero casi no se ve el surrealismo tpico de
Gondry en cuadro. La creatividad que puso en imgenes la memoria borrable de Eterno resplandor de una mente sin recuerdos y recreaba pelculas en Rebobinados existe, pero dentro de
los personajes, y ah hay suficiente chispa ldica para convertir
a Microbe et Gasoil en algo verdaderamente emocionante. Al
contrario de Wes Anderson, cuyos dioramas impenetrables son
maravillosos a su manera, la astucia estilstica de Gondry surge
del desastre que es la vida real. En algn lugar del paraso flmico, Microbe et Gasoil est yendo con Enid de Ghost World a
visitar a Harold y Maude. Jordan Hoffman

Consider it an anti-Superbad. Microbe & Gasoline is a sweet,


honest and rounded portrayal of male teenage friendship that
favours optimism over melancholy, and while it doesnt ignore
sex, it isnt obsessed with it.
The film is craftily shot, but theres almost no Gondry-esque
surrealism evident in the frame. The creativity that visualised
disappearing memory in Eternal Sunshine of the Spotless Mind
and sweded films in Be Kind Rewind exists, but its within the
characters, and thats enough of a playful spark to make the
movie a true thrill. Unlike Wes Anderson, whose airtight dioramas are wonderful in their own way, Gondrys wily style grows
from the mess of real life. Somewhere in movie paradise Microbe et Gasoil are taking a trip with Enid from Ghost World to
visit Harold and Maude. JH

Michel Gondry
Naci en Versailles, Francia, en 1963. Comenz su carrera dirigiendo
videoclips para Daft Punk y The Chemical Brothers, entre otros. Dirigi
varios largos, entre ellos Eterno resplandor de una mente sin recuerdos
(2004), El avispn verde (2011) y La espuma de los das (2013).
He was born in Versailles, France, in 1963. He started his career directing
music videos for Daft Punk and The Chemical Brothers, among others. He
directed many features, including Eternal Sunshine of the Spotless Mind
(2004), The Green Hornet (2011) and Mood Indigo (2013).

Francia - France, 2015 / 105 / DCP / Color


Francs - French
D, G: Michel Gondry F: Laurent Brunet E: Elise Fievet
M: Jean-Claude Vannier P: Georges Bermann
I: Ange Dargent, Thophile Baquet, Diane Besnier, Audrey Tautou
Contacto / Contact
The Festival Agency
E sarah@thefestivalagency.com
W thefestivalagency.com

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careers

Office
Hua li shang ban zou
Oficina
El maestro hongkons ofrece una transformacin cintica, y
deslumbrante de la exitosa obra Design for Living, de Sylvia
Chang, en un espectacular film musical sobre las intrigas del
mundo corporativo.

The Hong Kong master offers a cinematic and dazzling transformation of Sylvia Changs hit play Design for Living in a spectacular musical film about intrigues in the corporate world.

Solo Johnnie To puede hacer un musical sobre la crisis financiera


y la competencia corporativa en China del que, sin canciones o
coreografas destacables, no podamos despegar los ojos de la
pantalla. La explosin de colores y el muy pertinente 3D conforman una fiesta. La cmara, elegante y ldica, planea sobre
la accin y desnuda la esencia del sistema, sin paredes que la
oculten. Las relaciones al interior de una empresa, las pasiones
y traiciones cruzadas nos inducen a pensar que nada es demasiado diferente en las grandes ligas de la economa, regidas ms
por la ambicin y el chisme que por la inteligencia. El director de
Election ha seguido, previsto y criticado la historia reciente de su
pas a travs del cine de gnero. Ahora parece decirnos: cuando
la recesin es inevitable, reljate y goza. Fernando E. Juan Lima

Only Johnnie To can make a musical about the financial crisis


and corporate competitiveness in China in such a way that even
if it has no outstanding songs or choreographies, we cant take
our eyes away from the screen. The explosion of colors and a
very pertinent 3D invite us to a party. The elegant and lucid camera flies over the action and reveals the essence of the system,
with no walls hiding it. The relationships within the company,
the crossed betrayals and passions lead us to think nothing is
too indifferent in the financial major leagues, which are ruled
by ambition and gossip rather than intelligence. The director of
Election has followed, foreseen, and criticized the recent history
of his country through genre cinema. Now he appears to be saying: when recession is inevitable, relax and enjoy. FEJL

Johnnie To

Hong Kong / China, 2015 / 119 / DCP 3D / Color


Cantons / Mandarn - Cantonese / Mandarin

Naci en Hong Kong en 1955 y comenz su carrera como director de


televisin. En 1966 fund junto a su colaborador Wai Ka-fai la productora
Milkyway Image. Entre sus largometrajes ms destacados internacionalmente se encuentran Breaking News (2004), Election (2005), Exiled
(2006), Mad Detective (2007) y Drug War (2012).
He was born in Hong Kong in 1955 and began his career as a TV director.
In 1966 he founded the production company Milkyway Image together
with his partner Wai Ka-fai. Breaking News (2004), Election (2005), Exiled
(2006), Mad Detective (2007) and Drug War (2012) are some of his internationally renowned films.

192

D: Johnnie To G: Sylvia Chang F: Cheng Siu-keung


E: David Richardson DA: William Chang, Yau Wai-ming S: Tu Duu-shin
M: Dayu Lo, Chan Fai-young P: Johnnie To, Sylvia Chang
PE: Liu Yan-ming, Bill Kong CP: Beijing Hairin Pictures co., LTD
I: Eason Chan, Sylvia Chang, Lang Yue-ting, Chow Yun-fat, Tang Wei
Contacto / Contact
Edko Films. Olivia Leung
T +852 2528 8065
E leungolivia@edkofilm.com.hk
W cinema.com.hk

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

trayectorias

Right Now, Wrong Then


Jigeumeun matgo geuttaeneun teullida
Ahora bien, antes mal
Hong Sang-soo realiza otro de sus ingeniosos juegos temporales, y cuenta dos variantes de la misma historia. Chunsu es
un director de cine que llega a Suwon y conoce a Heejun, una
pintora.

Hong Sang-soo performs another of his witty time games and


tells two different versions of the same story. Chunsu is a film
director who comes to Suwon and meets Heejun, an artist.

Todos los directores de cine son iguales?, pregunta alguien


en la pelcula. La respuesta, en lo que a Hong respecta, no es
otra que no. Los encuentros y desencuentros entre un cineasta que llega a una ciudad para presentar su obra y una pintora
local abren la puerta a dos historias posibles de lo que podra
ser esa relacin. Son los pequeos detalles esos que se evidencian o se escapan cuando se ha bebido un poco de ms
los que definirn que la deriva sea ms dulce o ms amarga. La
conjuncin de dilogos banales con reflexiones ms profundas
es perfecta, y los dos protagonistas la hacen suya al punto de
operar ms como un estndar que como restriccin. Right Now,
Wrong Then, como puede decirse de toda la obra de Hong, se
conforma de sutiles e inteligentes variaciones sobre sus temas
de siempre. Fernando E. Juan Lima

Are all film directors alike? someone asks during the film. The
answer, as far as Hong is concerned, is none other than no.
The encounters and disagreements between a filmmaker that
arrives in the city to present his work and a local painter open
the door to two possible stories of what that relationship could
have been like. Its the little details those that become obvious
or slip out when one has drunk a bit too much that will define
the drift as sweeter or bitterer. The combination of banal dialogue and deeper reflections is perfect, and the two stars make
the film their own to the point of operating more like a standard
than a restriction. Right Now, Wrong Then, as can be said about
Hongs entire work, is made up of subtle and intelligent variations on the usual subjects. FEJL

Hong Sang-soo
Naci en Sel, Corea del Sur, en 1960, y estudi cine en la Universidad
de Chung-Ang. Dirigi varios films, entre los que se destacan Turning
Gate (2002), Tale of Cinema (2005), Woman on the Beach (2006), Night
and Day (2008), Hahaha (2009) y Okis Movie (2010), todas exhibidas en
la retrospectiva que le dedic el Bafici 13.
He was born in Seoul, South Korea, in 1960, and studied film at the
University of Chung-Ang. He directed several films, including Turning
Gate (2002), Tale of Cinema (2005), Woman on the Beach (2006), Night
and Day (2008), Hahaha (2009) and Okis Movie (2010), all of them
screened in the retrospective of his work held by Bafici 13.

Corea del Sur - South Korea, 2015 / 121 / DCP / Color


Coreano - Korean
D, G: Hong Sang-soo F: Park Hong-yeol E: Hahm Sungwon
S: Kim Mir M: Jeong Yong-jin P: Kim Kyoung-hee CP: Jeonwonsa
I: Jung Jae-young, Kim Min-hee
Contacto / Contact
Finecut. Namyoung Kim
T +82 2569 8777
E ny@finecut.co.kr
W finecut.co.kr

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careers

Sangue del mio sangue


Blood of My Blood
Sangre de mi sangre
En un pasado lejano, la Iglesia intenta averiguar si una joven
acusada de seducir y llevar al suicidio a su confesor mantiene
un pacto con el diablo. En el presente, la pelcula sigue la pista
de un viejo vampiro que ve amenazada su existencia cuando
un millonario intenta comprar su morada.

In a remote past, the Church tries to find out if a woman accused of seducing her confessor and leading him to suicide
has a deal with the devil. In present day, the film follows an
old vampire whose existence is threatened when a millionaire
tries to buy his dwelling.

A estas alturas, el maestro Bellocchio se ha reinventado en


varias ocasiones en su carrera. Con Sangue del mio sangue
lo hace otra vez; ahora, en una excursin al mundo de la Inquisicin. La vehemencia cinematogrfica hermana a esta pelcula
con una tan distinta y tambin vamprica como Drcula, de
Coppola. Ambos cineastas comprenden que estos personajes,
estos misterios se abordan mejor desde un cine en ebullicin,
un cine apasionado, un cine que no teme encontrarse con la
belleza en un ro y un castillo de fondo musicalizados con una
cancin de Metallica. A la vez, es un cine prudente que sabe del
podero de una mujer desnuda. Un cine que no huye de las fealdades y los absurdos contemporneos en un pasaje temporal
no arbitrario sino libre. Un cine aristocrtico en el mejor sentido
de la palabra. Y nada ms importa. Javier Porta Fouz

By now, the master Bellocchio has reinvented himself several


times throughout his career. He did it once again with Blood
of My Blood: a journey into the world of the Inquisition. Its cinematograhic vehemence relates this film to a very different one
that is also vampire-related, such as Coppolas Dracula. Both
filmmakers understand that these characters, these mysteries,
can be better addressed with a kind of boiling, passionate cinema; a kind of cinema that is not afraid of finding beauty in a
river and a castle with a song by Metallica in the score. Its also
a prudent cinema that is aware of the power of a naked woman.
Its a cinema that doesnt flee from contemporary ugliness and
absurdity, and its passing of time is not arbitrary, but completely
free. Its an aristocratic cinema, in the finest sense of the word.
And nothing else matters. JPF

Marco Bellocchio
Naci en Italia en 1939, y estudi filosofa antes de dedicarse al cine.
Entre sus largometrajes se destacan El diablo en el cuerpo (1986), Lora
di religione (Bafici 03), Buongiorno, notte (Bafici 04), Il regista di matrimoni (Bafici 07) y Vincere (2009; Bafici 10).
He was born in Italy in 1939 and studied philosophy after turning to film.
His films include Devil in the Flesh (1986), My Mothers Smile (Bafici 03),
Good Morning, Night (Bafici 04), The Wedding Director (Bafici 07) and
Vincere (2009; Bafici 10).

194

Italia / Francia / Suiza - Italy / France / Switzerland, 2015


106 / DCP / Color / Italiano - Italian
D, G: Marco Bellocchio F: Daniele Cipri E: Francesca Calvelli,
Claudio Misantoni DA: Andrea Castorina S: Christophe Giovannoni
M: Carlo Crivelli CP: Kavac Film, IBC Movie, Rai Cinema
I: Roberto Herlitzka, Pier Giorgio Bellocchio, Lidiya Liberman,
Fausto Russo Alesi, Alba Rohrwacher
Contacto / Contact
The Match Factory. Sergi Steegmann
E sergi.steegmann@matchfactory.de
W the-match-factory.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

trayectorias

Schneider vs. Bax


Un asesino a sueldo recibe una tarea que, a priori, le resulta
sencilla: debe dar muerte a un escritor de 50 aos que vive
alejado de todo, en una cabaa junto a un lago. Pero nada ser
tan simple y ambos se encontrarn en un enfrentamiento inesperado.

A hit man gets a job that looks simple at first: he must kill a 50
year-old writer who lives away from everything in a cabin by a
lake. But it wont be so simple, and they will find themselves in
an unexpected showdown.

Un ttulo clarsimo. Un seor contra otro. Y un puado de personajes que orbitan este enfrentamiento. Humor negro en
enormes cantidades, con fluidez ntida y con la claridad del da,
porque esta es una pelcula de gran oscuridad temperamental,
pero a plena luz, con aire y agua, que transcurre mayormente
en un paraje aislado sacudido por el profesionalismo criminal
de estos asesinos y por los vaivenes provenientes de diversos
sentimientos. Van Warmerdam nueve largometrajes en veinte
aos renueva las credenciales de su mundo sorprendente y
surreal, en el que nada es totalmente lo que parece aunque
todo tambin los cuerpos desnudos est a la vista. El de Van
Warmerdam es, a su modo, un cine de explosiones continuas,
en el que la comedia define el rumbo de su singular proyecto
cinematogrfico. Javier Porta Fouz

A very clear title. One man against another. And a handful of


characters who orbit this clash. Loads of black humor with a
clean flow and as clear as the day, because this is a film with a
great temperamental darkness, but in plain sight, with air and
water, it takes place in a town stirred by the criminal professionalism of these assassins and the comings and goings of
different feelings. Van Warmerdam nine films in twenty years
renews the credentials of his surprising, surreal universe, in
which nothing is entirely what it seems, although everything
including naked bodies is visible. Van Warmerdams cinema
is, in its way, a cinema of continuing explosions, where comedy
defines the path of his singular cinematographic project. JPF

Alex Van Warmerdam


Naci en Holanda en 1952 y fund dos grupos de teatro en su pas.
Film su primera pelcula, Abel, en 1986, a la que le siguen otras como
Grimm (2003; Bafici 04), Los ltimos das de Emma Blank (2009) y
Borgman (2013).
He was born in the Netherlands in 1952 and founded two theater companies in his country. He made his first film Abel in 1986, and directed
several more, including Grimm (2003; Bafici 04), The Last Days of
Emma Blank (2009) and Borgman (2013).

Holanda / Blgica - Netherlands / Belgium, 2015


96 / DCP / Color / Holands - Dutch
D, G, M: Alex van Warmerdam F: Tom Erisman E: Job ter Burg
DA: Geert Paredis S: Peter Warnier P: Marc van Warmerdam
CP: Graniet Film, CZAR I: Tom Dewispelaere, Alex van Warmerdam,
Maria Kraakman, Gene Bervoets, Annet Malherbe
Contacto / Contact
Fortissimo Films
T +31 206 273 215
E info@fortissimo.nl
W fortissimo.nl

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careers

Sunset Song
Cancin del atardecer
Historia de una familia de campesinos escoceses integrada
por cuatro hijos y una madre que viven bajo el autoritarismo
de su padre. Un melodrama clsico contado desde el punto de
vista de la hija mayor en su evolucin de adolescente a mujer.

Story of a family of Scottish farmers formed by four children


and a mother who live repressed under their fathers authoritarianism. A classic melodrama told from the point of view of
the older sister during her evolution from teenager to woman.

Basada en una novela de Lewis Grassic Gibbon de ttulo homnimo, la penltima pelcula del gran Terence Davies cuenta la
historia de una joven mujer llamada Chris que vive con su familia bajo las rdenes de un padre autoritario al norte de Escocia.
En este mundo rural y patriarcal es casi inadmisible para una
mujer elegir su propia vida, y el modo en que Chris se abrir
camino es como mnimo escabroso (la ruptura con su padre) y
quizs fallido (su matrimonio). Pero, ms que el relato de una
odisea personal en condiciones adversas, es un film contra la
guerra. Davies no es un mero ilustrador de novelas, tiene la
elegancia propia de un cineasta que jams renuncia a la forma:
vanse los cinco planos fijos con los que inicia el registro de
un velorio o la conmovedora secuencia tras el nacimiento de
los hermanos mellizos, mientras suena el clsico Wayfaring
Stranger. Roger Koza

Based on a novel of the same name by Lewis Grassic Gibbon,


the penultimate film by the great Terence Davies tells the story
of a woman named Chris who lives with her family under the
orders of an authoritarian father in northern Scotland. In this
rural, patriarchal world, its almost unacceptable for a woman
to choose her own life, and the way in which Chris will make
her way is rough, to say the least (breaking up with her father)
and maybe failed (breaking up her marriage). But, more than
the story of a personal odyssey in adverse conditions, its an
anti-war film. Davies doesnt merely illustrate novels; he has
the very elegance of a filmmaker that never renounces form, as
can be seen in the five fixed shots with which he starts a scene
at a wake, or in the moving sequence after the birth of the twin
brothers while we hear the classic Wayfaring Stranger. RK

Terence Davies
Naci en Liverpool, Inglaterra, en 1945. Dirigi la triloga autobiogrfica
compuesta por los cortos Children (1976), Madonna and Child (1980)
y Death and Transfiguration (1983), y largos como The House of Mirth
(2000), Of Time and the City (2008) y The Deep Blue Sea (2011; Bafici 12).
He was born in Liverpool, England, in 1945. He directed the autobiographical trilogy made up by the shorts Children (1976), Madonna and
Child (1980) and Death and Tranfiguration (1983), and such features as
The House of Mirth (2000), Of Time and the City (2008) and The Deep
Blue Sea (2011; Bafici 12).

196

Reino Unido / Luxemburgo - UK / Luxembourg, 2015


135 / DCP / Color / Ingls - English
D, G: Terence Davies F: Michael McDonough E: David Charap
DA: Andy Harris S: Loic Collignon P: Roy Boulter, Sol Papadopoulos,
Nicolas Steil CP: Hurricane Films, BFI Film Fund, Iris Productions,
BBC Scotland, Luxembourg Film Fund, Creative Scotland
I: Peter Mullan, Agyness Deyn, Jack Greenlees, Kevin Guthrie, Ian Pirie
Contacto / Contact
Fortissimo Films
T +31 206 273 215
E info@fortissimo.nl W fortissimo.nl

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

trayectorias

ltimas conversas
Last Conversations
ltimas conversaciones
Les toc a algunos colegas finalizar el emprendimiento que
encar Coutinho poco antes de su muerte, en el que intent
comprender a los adolescentes de la actualidad. Qu piensan, qu desean y cmo viven son solo algunos de los caminos recorridos en las conversaciones que encar junto a
estudiantes brasileros.

Some of his colleagues finished the enterprise Coutinho took


on before his death, in which he attempted to understand
teenagers today. What they think, what they want, and how
they live are only some of the paths taken in the conversations
he engaged in with Brazilian students.

Si de cineastas brasileos se trata, ninguno es tan cercano


como Eduardo Coutinho, que una vez fumaba un cigarrillo tras
otro en las escaleras de la Lugones a la espera de poder conversar con el pblico cuando vino al DocBuenosAires a presentar Jogo de cena (2007). Y justamente ltimas conversas
se titula su conmovedora pelcula pstuma, concluida por su
amigo Joo Moreira Salles con la ayuda de la montajista de
siempre del maestro, Jordana Berg. Basada en conversaciones
entre jvenes estudiantes brasileos y el director poco antes de
su muerte, en febrero de 2014, la pelcula trata de entender
cmo piensan, suean y viven los adolescentes de hoy. El film
no tuvo la atencin que hubiera merecido, ni siquiera entre la
crtica de Amrica Latina, a pesar de que se trata de una suerte
de summa de toda su obra. Luciano Monteagudo

There is no other Brazilian filmmaker as close as Eduardo


Coutinho, who once chain-smoked on the stairs of the Leopoldo
Lugones Theater while waiting to converse with the audience
when he came to DocBuenosAires to present Playing (2007).
And Last Conversations is the name of his moving posthumous
film, which was finished by his friend Joo Moreira Salles with
the help of the masters usual editor, Jordana Berg. Based on
conversations between young Brazilian students and the director, shortly before his death in February 2014, the film tries to
understand how todays teenagers think, dream and live. The
film didnt get the attention it deserved, not even among Latin
American critics, even though it somehow summarizes his entire work. LM

Eduardo Coutinho
Naci en San Pablo, Brasil, en 1933. Estudi en el Instituto de Altos
Estudios de la Cinematografa de Pars. Dirigi los largometrajes Cabra
marcado para morrer (1964-1984), Edificio Master (2002; Bafici 03),
Jogo de cena (2007, Bafici 08) y Las canciones (2011; Bafici 12), entre
otros. Falleci en 2014.
He was born in Sao Paulo, Brazil, in 1933. He studied at the Institute
for Advanced Cinematographic Studies in Paris. He directed Twenty
Years Later (1964-1984), Edificio Master (2002; Bafici 03), Playing
(2007, Bafici 08) and Songs (2011; Bafici 12), among other films.
He died in 2014.

Brasil - Brazil, 2015 / 85 / DCP / Color


Portugus - Portuguese
D, G: Eduardo Coutinho F: Jacques Cheuiche E: Jordana Berg
DA: Emily Pirmez S: Denilson Campos P: Joo Moreira Salles
PE: Joo Moreira Salles, Maria Carlota Bruno CP: Videofilmes
Contacto / Contact
Videofilmes. Maria Carlota Bruno
T +55 213 094 0810
E fernanda@videofilmes.com.br

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197

PREMIERE AMERICANA / AMERICAN PREMIERE

careers

Un dia perfecte per volar


A Perfect Day to Fly
Un da perfecto para volar
Padre e hijo se encuentran rodeados de un paisaje que los
aleja de lo cotidiano. Un barrilete que se atasca entre los rboles es solo el puntapi inicial para una cantidad explosiva
de aventuras narradas que son, en definitiva, una historia de
amor de familia.

As y todo, cuntos de nosotros luchamos para percibir


realmente a nuestros propios hijos?. La pregunta formulada
por Stan Brakhage en los aos sesenta recibe, en Un dia perfecte per volar, una rplica elemental y contundente. Porque
el de Marc Recha es, entre otras cosas, un film sobre cmo
percibimos el paso del tiempo simplemente al observar al hijo
que crece. La excusa argumental es mnima: un hombre y un
nio vuelan un barrilete y hablan, poco ms. Con esta premisa,
Recha logra rozar, desde lo familiar e ntimo, una esencialidad
estremecedora en la que la conversacin entre padre e hijo sirve
para establecer el tempo del film; y el rostro de ese actor prodigioso que es Sergi Lpez va modulando un tono que pasa de lo
luminoso y despreocupado a un sombro desenlace. Fran Gayo

Marc Recha
Naci en Espaa en 1970. A los 18 aos viaj a Pars becado por
el Departamento de Cultura de la Generalitat, donde colabor en su
primera pelcula. Desde entonces ha realizado numerosos cortos y
largometrajes, entre ellos Les Mansbuides (2003), Petitindi (2009)
y Dies dAgost (2006).
He was born in Spain in 1970. At the age of 18 he travelled to Paris on
a scholarship given by Citys Department of Culture, where he worked
in his first film. Since then, he directed several short and feature-length
films, including Where Is Madame Catherine? (2003), Little Indi (2009)
and August Days (2006).

198

A father and his son find themselves surrounded by a landscape


that takes them away from everyday life. A kite getting stuck
on a tree is just the trigger for an explosive amount of narrated
adventures that, in the end, stand as a family love story.

That being so, how many of us fight to really perceive our own
children?. The question posed by Stan Brakhage back in the
60s gets an elementary and solid answer in A Perfect Day to
Fly. Because Marc Rechas film is, among other things, one
about how we sense the time passing by simply observing our
children as they grow. The plot excuse is minimum: a man and
a boy fly a kite and talk thats pretty much it. With this premise, Rochas familiar and intimate approach manages to braze a
thrillingly essential element, in which a conversation between a
father and his son sets up the films tempo. And the face of the
remarkable actor Sergi Lopez modulates a tone that goes from
luminous and unconcerned to a somber outcome. FG

Espaa - Spain, 2015 / 70 / DCP / Color


Cataln - Catalan
D, G: Marc Recha F: Hlne Louvart E: Beln Lpez
DA: Aitor Martos S: Pau Subirs M: Pau Recha P: Oriol Cortacans
PE: Marc Recha CP: Batabat I: Roc Recha, Sergi Lpez, Marc Recha
Contacto / Contact
Latido Films. Marta Hernando
T +34 915 488 877
E latido@latidofilms.com
W latidofilms.com

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trayectorias

Inscripciones

PREMIERE MUNDIAL / WORLD PREMIERE

Inscriptions
No creo que pueda decir algo demasiado significativo acerca de Inscripciones. Yo misma no entiendo mucho. S que la
pelcula viene de un lugar desconocido, viene de afuera, es
una inspiracin. Me pasa as con todas las pelculas que hago,
no tengo conceptos predeterminados, van apareciendo como
pueden. S que es una pelcula que intenta decir algo sobre
el nacimiento del lenguaje, del texto, de la palabra. Describe
el texto como imagen y sentido. Y trata de abordar la necesidad inherente al hombre de construccin de sentido ante la
invisibilidad existencial. Narcisa Hirsch
I dont think I can say anything too significant about Inscriptions. I dont understand much myself. I know the film comes
from somewhere unknown, that it comes from outside, that
its 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 its 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

Argentina, 2015 / 19 / DM
Color & B&N / Espaol - Spanish
D, G, P: Narcisa Hirsch F: Narcisa Hirsch, Clara Fras, Daniela Muttis
E: Clara Fras S, M: Nicols Diab CP: La Medina
Contacto / Contact
La Medina. Narcisa Hirsch
T +54 9 11 5021 1372
E danielamuttis@gmail.com

Narcisa Hirsch
Naci en Berln, Alemania, en 1928, pero vive en Argentina desde muy
pequea. Es una de las mayores exponentes del cine experimental en
nuestro pas. En 2012, el Bafici le dedic un foco en el que se exhibieron muchos de sus cortos y el largo El mito de Narciso (2011).
She was born in Berlin, Germany, in 1928, but has lived in Argentina
since she was very little. She is one of the main experimental filmmakers in this country. In 2012, Bafici did a focus where many of her shorts
were shown, as well as the feature El mito de Narciso (2011).

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cinefilias
cinephilias

APERTURA / OPENING
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

Cinephilias

Raoul Ruiz, contre lignorance fiction!


Raoul Ruiz, Against Ignorance Fiction!
Contra la ignorancia ficcin, un retrato de Raoul Ruiz
Alejandra Rojo esboza un retrato del cineasta chileno que se
exili en Francia durante el golpe de Estado del 73. Utiliza
fragmentos de pelculas, entrevistas y testimonios para dar
cuenta del hombre que cre una obra irnica e inclasificable.

Alejandra Rojo sketches a portrait of the Chilean filmmaker, who


took up exile in France during the 73 coup dtat. He uses fragments from films, interviews and testimonies in order to account
for the man who created an ironic, unclassifiable body of work.

La intimidad de Raoul Ruiz, el gran cineasta chileno, resulta


apasionante: era un gran conversador, con conceptos muy claros, adems de un gran amante de la comida y la bebida. Pero,
adems, Ruiz era un hombre sediento de conocimiento, que
se plasmaba en su cine lleno de juegos con el tiempo, con la
historia, con las formas. El film de Rojo nos muestra cmo el
inters del cineasta por la ciencia se va plasmando en escenas,
en personajes, en situaciones de sus pelculas. Resulta apasionante ver cmo la curiosidad del cineasta por el tiempo y su
relatividad queda impresa una pelcula como Tres vidas y una
sola muerte (1996), por ejemplo. Rojo recoge una idea de Ruiz:
la poesa se ha refugiado en la ciencia. Y este documental, con
ideas y con cario hacia el realizador, busca desentraar esa
poesa presente en su cine. Rodrigo Bedoya

The intimate life of the great Chilean filmmaker Raoul Ruiz is


fascinating: he was a great talker, with very clear concepts, as
well as a food and drink lover. But Ruiz was also a man thirsty for
knowledge, something that you could notice on his films, which
always played with time, history, and forms. Rojos film shows
us how the filmmakers interest in science has traveled into the
scenes, characters, and situations in his films. Its fascinating
to see how the filmmakers curiosity about time, and its relative
nature, gets printed on a film like, for example, Three Lives and
Only One Death (1996). Rojo picks up an idea from Ruiz: poetry
has taken refuge in science. And this resourceful documentary,
which shows its love for the filmmaker, seeks to unravel the
poetry that is present in his films. RB

Alejandra Rojo
Naci en Buenos Aires en 1966. Tiene un mster en Cine de la Universidad de Pars, donde da clase de guion y puesta en escena. Dirigi varios
cortos y largos documentales.
She was born in Buenos Aires in 1966. He has a Masters in Film from
the University of Paris, where she teaches screenwriting and filmmaking.
She directed many shorts and documentary features.

Francia / Portugal - France / Portugal, 2016


63 / DCP / Color & B&N
Francs / Espaol / Portugus - French / Spanish / Portuguese
D, G: Alejandra Rojo F: Jrme Colin E: Isabelle Poudevigne
S: Samuel Mittelman M: Jorge Arriagada P, PE: Delphine Moirel
CP: Produccin TS Productions I: Paulo Branco, Ricardo Pereira,
Melvil Poupaud, Waldo Rojas, Jorge Arriagada
Contacto / Contact
TS Productions. Delphine Morel
T +33 153 102 400
E dmorel@tsproductions.net

202

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cinefilias

A glria de fazer cinema em


Portugal
The Glory of Filmmaking in Portugal
La gloria de hacer cine en Portugal
El 18 de septiembre de 1929, el escritor portugus Jos Rgio
le envi una carta a Alberto Serpa expresando su deseo de
crear una compaa productora y empezar a hacer pelculas.
Durante casi noventa aos, no se supo nada ms. Sin embargo,
el descubrimiento de unos viejos rollos parece ponerle punto
final a la historia.
On September 18th1929, Jos Rgio sent a letter to Alberto
Serpa expressing his desire to create a production company
and start making films. For almost ninety years, nothing more
was known about the outcome. However, the discovery of some
old reels seems to provide the ending to the story.
Manuel Mozos
Naci en Lisboa, Portugal, en 1959. Dirigi largos de ficcin como Quando troveja (1998) y 4 copas (2008), y documentales como Ruinas (2009;
Bafici 10) y Joo Bnard da Costa - Outros amaro as coisas que eu
amei (2014; Bafici 15).

Back Track

He was born in Lisbon, Portugal in 1959. He directed several fiction films,


including Quando troveja (1998) and 4 copas (2008), and documentaries
such as Ruinas (2009; Bafici 10) and Joo Bnard da Costa - Outros
amaro as coisas que eu amei (2014; Bafici 15).
Portugal, 2015 / 16 / DCP / Color / Portugus / Portuguese
D: Manuel Mozos G: Eduardo Brito, Miguel Dias F: Miguel ngelo
E: Tiago Ramiro, Ricardo Freitas S: Thiago Perry de Sampaio
M: Joana Gama, Lus Fernandes P: Miguel Dias CP: Curtas Metragens
CRL I: Joo Pontes, Pedro Cardoso, Samuel Mira, Srgio Costa,
Ricardo Leite
Contacto / Contact
Agencia - Portuguese Short Film Agency. Salette Ramalho
T +351 252 646 683 E agencia@curtas.pt W curtas.pt/agencia

PREMIERE LATINOAMERICANA / LATAM PREMIERE

Una exhibicin de brillantez tcnica alrededor de un relato muy


complejo armado con imgenes y sonidos de ms de 25 pelculas. La trama est entretejida sin costuras, narrada completamente por una voz en off: una mujer y varios hombres (un
escritor, un mujeriego, un criminal?), todos irremediablemente
bajo el hechizo de esa suerte de sirena.
As how piece of technical brilliance involving a highly complex story woven out of images and sounds from over 25
feature films. The plot is seamlessly interwoven, narrated by
an off-screen voice: a woman and several men (a writer, a
womanizer, a criminal?), each hopelessly under the spell of
the siren-like lady.
Virgil Widrich

Austria, 2015/7 / DCP 3D / B&N/Ingls - English


D, G, E, P: Virgil Widrich F: Bernhard Schlick S: Frdric Fichefet
CP: Film and Multimedia Productions GmbH
Contacto / Contact
Sixpackfilm
T +43 1526 0990 E office@sixpackfilm.com
W sixpackfilm.com ~ widrichfilm.com

Naci en Austria en 1967. A los 13 aos film sus primeras pelculas


en Super 8 y dirigi varios cortometrajes, entre ellos Copy Shop (2001;
Bafici 13).
He was born in Austria in 1967. At the age of 13 he shot his first films
in Super 8, and later directed several short films, including Copy Shop
(2001; Bafici 13).

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

203

PREMIERE MUNDIAL / WORLD PREMIERE

Cinephilias

Audaz se eleva
Going Down: Erecting the Southern Porn Industry
Un recorrido por la historia del porno entre prejuicios, tabes
y mitos, desde que se constituy como gnero hasta que devino en industria. Y, de paso, un vistazo a las posibilidades de
su desarrollo en Argentina.

A tour through the history of porn among prejudice, taboos


and myths, from the moment it constituted itself as a genre
until it became an industry. And, while were at it, a look on the
chances of progressing in Argentina.

El cine pornogrfico se invent en Argentina? Tcnicamente,


parece que s. O al menos eso piensa la gran cantidad de
voces autorizadas que prestan testimonio a lo largo de este
documental que recorre la historia de la industria triple X en el
pas. Hoy que el porno representa alrededor de un tercio del
trfico en Internet, los directores Torres Negri y Leiva intentan
entender cmo fue que Argentina no termin de posicionarse
como un jugador clave en ese mercado, siendo que su historia
en el rubro del cine condicionado es tan rica. De las inslitas
maniobras realizadas para esquivar la censura en la poca de
la dictadura a la masificacin del porno en la web, pasando
por la explosin del VHS primero y el DVD despus, cada etapa
tiene su encanto y es relatada por directores, historiadores,
sexlogos, actores, periodistas, activistas y dems personajes
apasionados. Lucas Garfalo

Was porn film invented in Argentina? Technically speaking, it


appears so. Or at least thats what many authorized voices think
when they lend their testimonies throughout this documentary,
which covers the story of the local triple X industry. Today, with
porn standing for around one third of all Internet traffic, filmmakers Torres Negri and Leiva try to understand how was it that
Argentina failed to position itself in that market, being that it has
such a rich history with that genre. From the incredible ways
to avoid censorship during the dictatorship to the widespread
growth of porn on the web, and including the VHS and DVD
explosions, every phase has its charm, depicted by directors,
historians, sexologists, actors, journalists, activists, and other
passionate characters. LG

Mariano Torres Negri


Naci en Buenos Aires en 1984. Es licenciado en Comunicacin Audiovisual y trabaja en televisin desde 2006. Audaz se eleva es su pera prima.
He was born in Buenos Aires in 1984. He has a Bachelors Degree in
audiovisual communication and has been working in the television industry since 2006. Going Down is his first feature.

Argentina, 2016 / 107 / DM / Color


Espaol - Spanish

Lisandro Leiva

D, G, E, P, PE: Lisandro Leiva, Mariano Torres Negri


F: Mariano Torres Negri, Juan Pablo Bondi DA: Mariano Torres Negri,
Martn Torres, Isa Crosta S: Daniel Celina CP: Big Pig Films
I: Victor Maytland, Daro Sztajnszrajber, Juan Carlos Kusnetzoff,
Malena Pichot, Csar Jones

Naci en Buenos aires en 1983. Es productor periodstico, y contina su


formacin como psicoanalista. Audaz se eleva es su primer largometraje.
He was born in Buenos Aires in 1983. He is a journalistic producer and
continues studying psychology. Going Down is his first feature.

Contacto / Contact
Big Pig Films. Mariano Torres Negri
T +54 9 11 6003 1813 E contactobigpig@gmail.com
W bigpigfilms.com ~ audazseeleva.com

204

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PREMIERE MUNDIAL / WORLD PREMIERE

Cinefilias

El Perro de Ituzaing
Ituzaing Dog
Documental acerca del emblemtico cineasta independiente
Ral Perrone, radicado en la localidad bonaerense del ttulo.

A documentary about emblematic independent filmmaker Ral


Perrone, who lives in the area of greater Buenos Aires mentioned in the title.

El cine de Ral Perrone es tan particular como adictivo. Su


prolfica y heterognea filmografa, su esttica, su austeridad,
su barrio, sus cielos, sus modos, sus mtodos: todo Perrone
en cine es admirable. Y en este documental, el espaol Patricio Carroggio extasiado realizador haciendo cine sobre aquel
objeto que lo extasa se sumerge en el rodaje de Poema
urgente para una perra hambrienta. Entonces mira (y admira)
cmo trabaja un director cascarrabias, intolerante, obsesivo,
gracioso e insoportable, pero ante todo maestro. Carroggio
escucha, poco (como Perrone), pero escucha, y hace hablar a
quienes trabajan con el argentino para que nos cuenten algo
que no vamos a creernos del todo pero que, al final y mientras transcurre esta pelcula, descubriremos que siempre fue
y ser verdad. Josefina Garca Pulls

Ral Perrones films are as peculiar as they are addictive. Its


prolific and heterogeneous body of work, his aesthetics, his
austerity, his neighborhood, his skies, his ways, his methods:
everything that is Perrone in film is admirable. And in this documentary, Spanish director Patricio Carroggio a captivated filmmaker making a film about that object that captivates him- dives
into the shooting of Poema urgente para una perra hambrienta.
And he looks at (and admires) how a grumpy, intolerant, obsessive, funny, unbearable but, above all, masterful director works.
Carroggio listens, not much (like Perrone), but he listens, and
he makes those who work with the Argentine director tell us
things we wont fully believe, but that, in the end and also during this film, we will find out they were always true, and always
will be. JGP

Patricio Carroggio
Naci en Barcelona en 1979, donde estudi cine y televisin. Dirigi
cortometrajes, documentales, video-danza, videoclips y animacin.
He was born in 1979 in Barcelona, where he studied film and television. He directed short films, video-dance pieces, music videos and
animations.

Argentina, 2016
70 / DM / B&N
Espaol - Spanish
D, G, F, E, DA, S, P, PE: Patricio Carroggio M: Carlos Masinger
I: Ral Perrone, Sofa Brito, Jose J. Maldonado
Contacto / Contact
Patricio Carroggio
T + 54 9 341 677 4941
E patriciocarroggio@gmail.com
W patriciocarroggio.com

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205

Cinephilias

El ltimo verano
The Last Summer
Cada noche de verano, en algunos pequeos pueblos de Espaa,
autctonos y veraneantes se acercan a las plazas para vivir la
experiencia de asistir a una proyeccin al aire libre en 35mm.
Para que este evento sea posible, hay personas que trabajan sin
descanso en jornadas que pueden ser las ltimas.

Every summer night, in some Spanish towns, locals and tourists come together in parks to experience an outdoors 35mm
screening. People work restlessly to make this possible in long
days that can very well be their last.

El ltimo verano, de Leire Apellaniz, tiene el peso material del documento que es y el aire lrico de una ficcin pica que encuentra
en la figura del perdedor resignado el drama anunciado de un fin
de ciclo. Lo que se cuenta sin melancola es aquello que se vea
venir. La historia, que no puede ser ms sencilla, es la de Miguel
ngel, una bestia tecnocrtica en extincin que programa proyecciones en flmico por pueblos de Espaa. Pero lo que ilumina
la pelcula por dentro es la belleza forense con que Apellaniz nos
muestra el inventario museogrfico y verbal de un mundo que
dej de andar: lmparas de xenn, cruces de Malta, bobinas, empalmadoras. Cada cosa que se nombra o que se ve y se nombra
por ltima vez. En esa despedida, El ltimo verano es el primer
recuerdo filmado de lo que ya no vuelve. Juan Jos Becerra

Leire Apellanizs El ltimo verano carries the material weight of


being a document, and the lyrical tone of an epic fiction that
finds in the figure of a resigned loser the pre-announced drama
of the end of an era. The film depicts without melancholy what
they knew it would come. The very simple story is the one of
Miguel ngel, a technocratic, endangered beast who programs
film screenings in small Spanish towns. Yet what actually sheds
light on the film is the forensic beauty with which Apellaniz
shows us the museographic and verbal inventory of a world that
is not running anymore: xenon lamps, Maltese crosses, reels,
splicers. A world of things that are mentioned or seen for the
last time. In that farewell, The Last Summer is the first filmed
memory of that which is gone. JJB

Leire Apellaniz

Espaa - Spain, 2016 / 93 / DCP / Color / Espaol - Spanish

Trabaj en numerosos festivales de cine, y actualmente es la responsable


del Departamento Tcnico del Festival de Cine de San Sebastin. Paralelamente, ha desarrollado una labor activa como productora en diversos
proyectos audiovisuales a travs de su productora Seor y Seora.
She worked for several film festivals, and is currently in charge of the
Technical Department of the San Sebastian Film Festival. At the same
time, she has developed an active career as a producer for several audiovisual projects through her production company Seor y Seora.

206

D, G, P, PE: Leire Apellaniz F: Javi Aguirre, Aritz Moreno


E: Marcos Florez DA: S: Alazne Ameztoy CP: Seor y Seora S.L.
Contacto / Contact
Seor y Seora. Arkaitz Villar
T +34 686 485 976
E info@senorysenora.es
W senorysenora.es

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Cinefilias

El viento sabe que vuelvo a casa


The Wind Knows Im Coming Back Home
Un cineasta llega a Chilo una de las islas ms grandes de
la costa chilena y planea su prximo film. Entre audiciones
y bsqueda de locaciones, se abre camino entre las historias
que espa, mientras observa los vnculos y tensiones que flotan en el aire.

A filmmaker arrives in Chilo one of the largest islands in


the Chilean coast and plans his next film. Between auditions and location scouting, he makes his way through the
stories he spies on, while observing the links and tensions
that float in the air.

En el poema de Jorge Teillier que da ttulo a esta pelcula, el autor


escribe la siguiente frase: Un da, volveremos al primer fuego.
Fiel a este pedido, Jos Luis Torres Leiva realiza una pelcula que
reclama, para s misma, una vuelta a las fuentes del cine y a
cierta inocencia y simpleza perdidas. Una simpleza que, como los
ros tranquilos, esconde mucho ms de lo que aparenta su calma
superficie. No se trata aqu de utilizar las formas del documental
como un truco cinematogrfico (o, peor an, un guio para iniciados), sino de dejar a las historias que se cuentan y a quienes las
cuentan ser las protagonistas. La aparicin de Ignacio Agero
(uno de los mejores e inexplicablemente secretos directores de la
actualidad) como narrador y disparador de la pelcula termina de
completar una obra que, al igual que el viento de Bresson, sopla
adonde quiere. Marcelo Alderete

In the poem by Jorge Teillier that lends its title to this film, the
poet writes the following phrase: One day, we will return to
the very first fire. Remaining true to that request, Jos Luis
Torres Leiva makes a film that claims for a return to the origins
of cinema and a certain lost innocence and simplicity. A kind of
simplicity that, as quiet rivers, hides a lot more than what its
calmed surface shows. Here its not about using the forms of
documentary as a film trick (or worse, a wink for the experts),
but to let the stories themselves and the people telling them
become the protagonists. The presence of Ignacio Agero (one
of the finest and inexplicably unknown directors today) as a narrator and trigger for this film completes a piece that, just like
Bressons wind, blows in any direction it wishes to do so. MA

Jos Luis Torres Leiva


Naci en Santiago de Chile en 1975. Dirigi numerosos cortos y documentales, como Ningn lugar en ninguna parte (2004), El tiempo que se
queda (ganadora de la Competencia Cine del Futuro en el Bafici 07) y
Tres semanas despus (Bafici 11). Su primer film de ficcin fue El cielo,
la tierra y la lluvia (Bacifi 08).
He was born in Santiago de Chile in 1975. He directed several short
films and documentaries, including Ningn lugar en ninguna parte
(2004), Women Workers Leaving the Factory (2005), The Time that
Rests (winner of the Cinema of the Future section of Bafici 07) and
Three Weeks Later (Bafici 11). The Sky, the Earth and the Rain (Bacifi
08) was his first fiction film.

Chile, 2016 / 103 / DCP / Color / Espaol - Spanish


D, G: Jos Luis Torres Leiva F: Cristian Soto E: Jos Luis Torres Leiva,
Andrea Chignoli S: Roberto Espinoza P: Carolina Quezada
PE: Catalina Vergara CP: Globo Rojo Producciones I: Ignacio Agero
Contacto / Contact
Globo Rojo Producciones. Catalina Vergara
T +56 996 530 493
E contacto@globorojofilms.com
W globorojoproducciones.cl

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Cinephilias

Favio: Crnica de un director


Favio, Chronicle of a Director
A mediados de 2009, Favio concedi una entrevista que permaneci indita y en la que habl exclusivamente de cine. El
resultado fue una clase magistral, y este documental la recupera, buscando echar luz sobre la mirada personal del realizador argentino.

In early 2009, Favio gave an interview that remained unreleased and in which he only talked about film. The result was a
master class, and this documentary revives it, seeking to shed
light on the Argentine filmmakers unique gaze.

Son pocos los emblemas de la cultura argentina capaces de


apelar por igual al gusto elitista musestico y al gusto popular.
Leonardo Favio fue sin dudas uno de ellos. Intempestivo, peronista y apegado a la liturgia de esta tierra, el mendocino fue un
artista de todos los oficios pero, antes que nada, un cineasta.
As lo recupera Favio, crnica de un director: como un hombre de cine que se nutri de la radio, la actuacin y la msica
para construir el puado de rapsodias con las que engalan a
nuestro cine. El testimonio de familiares, colaboradores y amigos reactualiza la imborrable estela de bohemia y genialidad
detrs del gran Favio, cuya voz sobrevuela toda la pelcula. Su
vida, inmensa y lrica como sus personajes, encuentra as su
merecido homenaje. Guido Segal (Catlogo 30 Festival de
Mar del Plata)

There are very few icons in Argentine culture capable of appealing to both popular and elitist tastes. Leonardo Favio was
undoubtedly one of them. An unseasonable Peronist attached
to the liturgy of this land, the director, born in the province of
Mendoza, was an artist at every craft but, above all, he was a
filmmaker. This is how Favio: Chronicle of a Director recaptures
him, as a man of film who fed from radio, acting and music
in order to build up the handful of rhapsodies with which he
adorned our cinematography. The testimonies from relatives,
collaborators and friends updates the indelible tail of bohemia
and genius behind the great Favio, whose voice overflies the
entire film. This way, his life, as immense and lyrical as his characters, finds its well-deserved tribute. GS (30th Festival de Mar
del Plata Catalogue)

Alejandro Venturini

Argentina, 2015 / 120 / DM / Color & B&N / Espaol - Spanish

Nacido en Lomas de Zamora en 1986, estudi direccin en la Universidad del Cine y se especializ en guion y cine documental. Dirigi el corto
Elega, adems de videoclips y documentales televisivos. Tambin trabaj
en sonido y cmara en largos documentales como El otro ftbol (2012)
y La del Chango (2014).
He was born in Lomas de Zamora in 1986, studied filmmaking at the
Universidad del Cine and specialized in screenwriting and documentary
filmmaking. He directed the short Elega as well as music videos and television documentaries. He also worked in the sound and camera departments in documentary features such as The Other Football (2012) and
Take It from Chango (2014).
208

D, G: Alejandro Venturini F: Francisco De Santis, Sofa Rodrigo


E: Lucas Ros DA: Paloma Chiodo S: Manuel Pinto M: Ivn Wyszogrod
P: Paloma Chiodo PE: Paloma Chiodo, Alejandro Venturini
CP: 2t Producciones I: Leonardo Favio, Zuhair Jury, Graciela Borges,
Edgardo Nieva, Eliseo Subiela
Contacto / Contact
2t Producciones
T +54 9 11 5578 0271
E producciones2t@gmail.com
W 2tproducciones.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

Cinefilias

Harold and Lilian. A Hollywood


Love Story
Harold y Lilian. Una historia de amor en Hollywood
Harold y Lillian trabajaron en cientos de pelculas icnicas durante la edad de oro de Hollywood, incluyendo Piso de soltero,
Los pjaros y El graduado. Pero sus contribuciones permanecen en gran medida sin acreditar.

Harold and Lilian worked in hundreds of iconic films during the golden age of Hollywood, including The Apartment,
The Birds and The Graduate. But their contributions remain
mostly unaccredited.

El cine nos ense que el amor autntico deba ser turbulento.


Devoto de los desencuentros y esclavo de la tragedia romntica.
A pesar de que Harold y Lillian Michelson vivieron a los besos
entre set y set, nunca creyeron en esa educacin sentimental.
Los alumnos rebeldes que estuvieron casados por ms de seis
dcadas trabajaron en la industria de Hollywood con los monstruos ms temibles: desde Cecil B. DeMille hasta Hitchcock.
Harold trazaba las lneas que componan cada plano de una
pelcula en sus storyboards, Lillian realizaba las investigaciones
histricas para que la ficcin que se construyera en pantalla
grande fuera verosmil. El documental de Daniel Raim evidencia, a travs de entrevistas y dibujos monocromticos, que las
grandes historias de amor no siempre se encuentran delante de
cmara. Maia Debowicz

Cinema has taught us true love must be turbulent, a devote


follower of failed encounters and a slave to romantic tragedy.
Yet despite Harold and Lillian Michelson spent their lives kissing
each other on film sets, they never believed in that sentimental
education. These rebel students were married for over six decades and worked in the Hollywood industry with the scariest
monsters, from Cecil B. DeMille to Hitchcock. Harold drew the
lines that formed every shot of a film on his storyboards, and
Lillian performed the historic research that enabled big screen
fiction to be credible. Through interviews and monochromatic
drawings, Daniel Raims documentary proves great love stories
not always happen in front of the camera. MD

Daniel Raim
Estudi cine en el American Film Institute, y se dio a conocer en el
2000 cuando su corto The Man on Lincolns Nose estuvo nominado a un Oscar. Realiz documentales sobre algunos de los grandes
nombres del Hollywood clsico.
He studied film at the American Film Institute, and became known in
2000 when his short film The Man on Lincolns Nose was nominated for
an Oscar. He directed documentaries about some of the great names of
classic Hollywood.

Estados Unidos - US, 2015 / 96 / DCP / Color


Ingls - English
D, G: Daniel Raim F: Battiste Fenwick, Daniel Raim
E, P: Daniel Raim, Jennifer Raim S: Jason Tuttle M: Dave Lebolt
I: Harold Michelson, Lillian Michelson, Gene Allen, Mel Brooks,
Francis Ford Coppola, James D. Bissel
Contacto / Contact
Wide House. Dounia Georgeon
T +33 153 950 464
E festivals@widehouse.org
W widehouse.org ~ haroldandlillian.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

209

Cinephilias

Hitchcock/Truffaut
Medio siglo despus de la publicacin del libro El cine segn
Hitchcock, de Franois Truffaut, Kent Jones invita a algunos
realizadores (Martin Scorsese, David Fincher, Richard Linklater,
Wes Anderson, James Gray, Paul Schrader) a compartir sus
pensamientos sobre el maestro del suspenso.

Half a century after the publication of the book Hitchcock,


by Franois Truffaut, Kent Jones invites filmmakers (Martin
Scorsese, David Fincher, Richard Linklater, Wes Anderson,
James Gray, Paul Schrader) to share their thoughts on the
master of suspense.

No pretendan encontrar aqu riesgo o bsquedas formales que


se aparten de los cnones ms difundidos del documental.
Cuando se tiene un material como el de las famosas entrevistas
que Franois Truffaut realiz a Alfred Hitchcock, no se necesita
casi de nada ms para tener una buena pelcula. Los dilogos
son la gnesis del libro indispensable que los contiene, que
apur el ltimo paso para que la crtica comprendiera lo que los
espectadores ya saban: que ese realizador comercial era un
verdadero autor. Al audio de las charlas e imgenes de las pelculas de Hitchcock y Truffaut se suman opiniones de diversos
directores. Martin Scorsese, Wes Anderson y Kiyoshi Kurosawa,
entre otros, tratan de explicar la razn de la perenne actualidad
y modernidad de la obra del creador de Vrtigo. Fernando E.
Juan Lima

Dont enter this film expecting to find risk or formal approaches


away from the most conventional canons of documentary filmmaking. When youre dealing with material like the famous
interviews Franois Truffaut did to Alfred Hitchcock, you practically dont need anything else in order to come up with a good
film. These dialogues are the genesis of the essential book that
contains them, which helped critics understand what audiences
already knew: that that commercial filmmaker was a true auteur. The film features audios from these encounters, images of
Hitchcock and Truffaut and opinions by many directors. Martin
Scorsese, Wes Anderson and Kiyoshi Kurosawa, among others,
try to explain the reason why the work by the creator of Vertigo
is always current and modern. FEJL

Kent Jones
Naci en Estados Unidos, y es uno de los nombres fundamentales de la
crtica contempornea. Fue editor de la revista Film Comment y dirigi el
documental Val Lewton: The Man in the Shadows (Bafici 06). Tambin
codirigi, junto a Martin Scorsese, A Letter to Elia (2010; Bafici 11) y fue
jurado en el Bafici 09.
He was born in the US, and is one of the founding names of contemporary
criticism. He was the editor for the magazine Film Comment and directed
the documentary Val Lewton: The Man in the Shadows (Bafici 06). He
also co-directed, together with Martin Scorsese, A Letter to Elia (2010;
Bafici 11) and at in the jury of Bafici 09.

210

Estados Unidos / Francia - US / France, 2015 / 80 / DCP / Color


Ingls / Francs / Japons - English / French / Japanese
D: Kent Jones G: Kent Jones, Serge Toubiana E: Rachel Reichman
M: Jeremiah Bornfield P: John Kochman, Daniel Battsek
PE: Charles S. Cohen, Olivier Mille CP: Cohen Media Group,
Artline Films, Arte France I: Alfred Hitchcock, Franois Truffaut,
Wes Anderson, David Fincher, Martin Scorsese
Contacto / Contact
Cohen Media Group. Andrew Borden
T +1 310 360 6448
E andrew@cohenmedia.net W cohenmedia.net

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

Cinefilias

Mi hist(e)ria en el cine
My Hist(e)ry in Cinema
Harta del tiempo que le lleva realizar pelculas y de la dificultad
para estrenarlas, Mara Victoria decide abandonar el oficio de
directora cinematogrfica para comenzar a filmar a su marido
y a sus hijos. Este camino la llevar a reencontrarse con ella
misma y con su pasin por el cine.

Sick of the time it takes to make a film and how hard it is to


release one, Mara Victoria decides to leave her job as a film
director and starts filming her husband and children. That road
will take her to find herself and her passion for cinema again.

Basta de buscar subsidios, financiamiento, salas, horarios imposibles en butacas inexistentes: hacer cine independiente es
una desgracia cuesta arriba. Mara Victoria Menis est agotada,
y no encuentra la fuerza para hacer su prxima pelcula. Sabe
que estrenar es difcil y puede resultar poco reconfortante. Por
qu seguir filmando? Y si no halla la razn, qu hacer luego
de una vida dedicada al trabajo detrs de cmara? Esta vez le
toca al cine seducirla a ella. Sus dudas y reproches la obligan
a cuestionarse su vida profesional, pero es en los rincones ms
privados de su cotidianeidad donde se ensayan las respuestas.
Menis busca y se topa con el reflejo de su trabajo que parece
decirle, una y otra vez, que se puede perder un poco el rumbo,
la paciencia e incluso la esperanza pero, cuando existe, la pasin puede barrer con todo lo dems. Sol Santoro

Enough with seeking grants, financing, theaters, and impossible


showtimes in non-existent seats: making independent movies
is an uphill misfortune. Mara Victoria Menis is exhausted, and
cant seem to find the strength to make her new film. She knows
that opening a film is difficult and can prove to not be comforting. Why keep filming? And if she doesnt find the reason, what
is there to do after a life devoted to working behind the scenes?
This time, cinema has to seduce her. Her doubts and reproaches
force her to question her professional life, but it is in one of the
most private corners of her everydayness that the answers start
to appear. Menis seeks and bumps into the reflection of her
work, which seems to tell her, once and again, that one can lose
their way, patience and even hope, but, when it exists, passion
can sweep away everything else. SS

Mara Victoria Menis


Naci en Argentina y estudi cine en la ENERC. Es guionista de cine,
teatro y televisin y se dedica a la docencia en la Universidad de Buenos
Aires, Enerc y Escuela de Cine de Avellaneda. Dirigi algunos largometrajes, como Los espritus patriticos (1989), El cielito (2004) y La cmara
oscura (2008).
She was born in Argentina and studied film at ENERC. She writes scripts
for film, theater, and TV, and works as a teacher at the University of
Buenos Aires, ENERC, and the Avellaneda Film School. She directed
several films, including Los espritus patriticos (1989), Little Sky (2004)
and The Camera Obscura (2008).

Argentina / Espaa - Argentina / Spain, 2016


64 / DCP / Color / Espaol - Spanish
D: Mara Victoria Menis G, PE: Mara Victoria Menis, Cecilia Menis
F: Franca Gonzlez E: Florencia Efron S: Martn Grignaschi
M: Toms Bec P: Nadia Martnez CP: Todo Cine SA
I: Mara Victoria Menis, Cecilia Menis, Franca Gonzlez,
Saul Cherajovsky, Rosa Cherajovsky
Contacto / Contact
FilmsToFestivals. Gisela Chicolino
T +54 9 11 5181 1740
E info@filmstofestivals.com W filmstofestivals.com

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211

PREMIERE AMERICANA / AMERICAN PREMIERE

Cinephilias

O espectador espantado
The Amazed Spectator
El espectador espantado
El director portugus realiza una investigacin sobre el espectador, que abarca desde El ciudadano vista en un telfono mvil hasta un partido de ftbol proyectado en una sala de cine,
mezclados con entrevistas a crticos, directores y cinfilos.

The Portuguese filmmaker investigates spectators, ranging


from Citizen Kane watched on a smartphone to a soccer match
projected in a film theater, mixed with interviews to critics,
filmmakers, and cinephiles.

El cine constantemente adquiere nuevas formas; se desarma


para reorganizarse sobre nuevos ejes y al mismo tiempo, como
reflejo y rastro de ese carcter mutante, cra, instruye y define
a diversos tipos de espectadores. O espectador espantado actualiza la pregunta qu es el cine? al retratar las huellas y
seguir los caminos marcados por diferentes obsesiones, que
aparecen en forma de testimonios, detonadas desde la sala. Las
imgenes de un pblico de fantasa que grita, se transforma y
estalla desde la butaca, tomadas como si fueran una subjetiva
de las propias pelculas que observan las reacciones de las criaturas que generan, portan un espesor onrico que, ms all de
expresar la materialidad de los sueos, parece preparado para
volverlas pesadilla en cuanto se lo proponga. Aldo Montao

Cinema constantly gains new forms; it disarms and reorganizes


itself on new grounds, and at the same time it raises, educates,
and defines different kinds of spectators, as a reflection and
trace of that mutant nature. The Amazed Spectator updates the
question What is cinema? by depicting the tracks and following the roads marked by different obsessions triggered from the
theater, which are here featured in the shape of testimonies.
The images of a fantasy audience that screams, transforms, and
explodes in their seats are captured as POV shots of the films
themselves, as if they were watching the reactions of children.
They carry a dreamy density that express the material element
of reams, while also appear to be ready to turn them into nightmares as soon as they feel like it. AM

Edgar Pra
Naci en Portugal en 1960. Dirigi numerosos cortos y largometrajes,
entre los que se destacan O Baro (2011) y 3x3D (junto a Jean-Luc
Godard y Peter Greenaway; 2013, Bafici 14).
He was born in Portugal in 1960. He directed several short and featurelength films, including O Baro (2011) and 3x3D (together with Jean-Luc
Godard and Peter Greenaway; 2013, Bafici 14).

212

Portugal, 2015 / 70 / DCP 3D / Color & B&N


Portugus / Ingls / Francs - Portuguese / English / French
D, G, E: Edgar Pra F: Lus Branquinho DA: Ricardo Preto S: Vasco
Carvalho, Pedro Ribeiro, Pedro Marinho M: Artur Cyanetto, Jorge
Prendas P, PE: Rodrigo Areias CP: Bando Parte I: Laura Mulvey,
Eduardo Loureno, Augusto M. Seabra, Olaf Mller, Laura Rascaroli
Contacto / Contact
Bando Parte. Carlos Andr
T +35 1 253 094 489 E bando@bandoaparte.com
W bandoaparte.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

Cinefilias

Porno e libert
Porn to Be Free
Porno y libertad
A partir de material de archivo y entrevistas, este documental cuenta de forma ldica la revolucin sexual y el auge de
la pornografa que se produjo en Italia en los aos setenta y
ochenta, donde se daban cita batallas por las libertades polticas, culturales y personales.

De entre todos los gneros, sin duda el ms vilipendiado es el


porno. La eclosin ertica de los aos setenta es la base firme
sobre la que se para Porno e libert, documental acerca del
desarrollo del porno italiano. Con las pieles lleg la conmocin:
ni bien Italia liber las cadenas del conservadurismo, su cine
implosion a puros autores inslitos, pubis peludos y un desparpajo vanguardista. Faltaba poco para que la Cicciolina bajase
desde Hungra y se echara a rodar la ms importante revolucin
sexual de la historia. Por eso, amantes de la carne sobre carne,
hedonistas del mete y saca, porngrafos cachonderos, sepan
que Porno e libert rastrea una gnesis posible, analiza su evolucin y la exprime va archivos genitales y testimonios reparadores. Y que, si bien se trata de un trabajo de rigor histrico, no
renuncia al bendito arte de calentar. Hernn Panessi
Carmine Amoroso

Through stock footage and interviews, this documentary playfully tells of the sexual revolution and the rise of porn that took
place in Italy in the late 70s and 80s, where battles for political, cultural and personal freedoms took place.

There is no doubt that the most vilified of all genres is porn.


The erotic eclosion of the 70s is the solid base where Porn to
Be Free, a documentary about Italian porn, stands. With flesh
came commotion: as soon as Italy became free from the chains
of conservatism, its cinema imploded by way of weird auteurs,
hairy pubic areas and an avant-garde impudence. It wouldnt
be long until the Cicciolina came down from Hungary and carried out the most important sexual revolution in history. That
is why you, lovers of flesh on flesh, hedonists of ins and outs,
horny pornographers, should know that Porno e libert traces a
possible genesis, analyzes its evolution and displays it through
genital archives and comforting testimonies. And that, even
though its a work if historical rigor, it doesnt renounce the holy
art of making you horny. HP

Italia - Italy, 2016 / 78 / DCP / Color & B&N / Italiano - Italiano

Naci en Italia en 1963, y en sus comienzos trabaj como asistente de


direccin de Mario Monicelli, entre otros. Debut como realizador con
Come mi vuoi (1997). Actualmente ensea direccin y dramaturgia en el
Centro Experimental de Cinematografa de Roma.
He was born in Italy in 1963. In his beginnings, he was assistant director
to Mario Monicelli, among others. He made his directorial debut with As
You Want Me (1997). He currently teaches filmmaking and play-writing
at Romes Experimental Film Center.

D, G: Carmine Amoroso F: Paolo Ferrari M: Fabrizio Fornaci


P: Patrizia Zoratti, Paolo Ferrari, Carmine Amoroso CP: Zutfilm SRL
I: Riccardo Schicchi, Lasse Braun, Ilona Cicciolina Staller, Judith Malina,
Giuliana Gamba, Helena Velena
Contacto / Contact
Wide House. Dounia Georgeon
T +33 153 950 464
E festivals@widehouse.org
W widehouse.org

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PREMIERE MUNDIAL / WORLD PREMIERE

Cinephilias

Saru. Documental sobre


Jorge Sarudiansky
Saru. Documentary about Jorge Sarudiansky
Retrato de Jorge Sarudiansky (Saru, para los amigos), uno de
los grandes escengrafos argentinos que, a lo largo de ms de
cuarenta aos, ha realizado alrededor de cien puestas teatrales innovadoras.

A portrait of Jorge Sarudiansky (his friends call him Saru), one


of the greatest Argentine set designers, who has made around
a hundred innovative theater sets in the last forty years.

Jorge Sarudiansky fue un grande (muri en 2009), uno de esos


valiosos artfices de la cultura que suelen pasar inadvertidos,
que suelen quedar en un segundo plano. Sarudiansky descoll
y dej su impronta como escengrafo teatral, director de arte
en cine y hombre clave del diseo grfico y la publicidad argentina. Cul era el secreto? Lpiz, papel, culo y silla. Lo dems,
no existe, afirma entre risas l mismo en una de las primeras
frases sueltas de Saru. Porque la pelcula de Alejandra Isler no
solo cuenta con los testimonios de amigos, colegas y allegados
ntimos, sino tambin con declaraciones y entrevistas del propio
Sarudiansky comentando las pelculas en las que particip, sus
piezas de diseo grfico o las fotos del lbum familiar. Muerto
en 2009, Saru es un retrato tan sentido como exhaustivo de una
mente brillante de la cultura argentina. Matas Capelli

Jorge Sarudiansky was a great man (he passed away in 2009),


one of those precious architects of culture that are usually underrated and left in the background. Sarudiansky excelled and left
his mark as a stage designer in theater, an art director in film,
and a key figure of Argentine graphic design and advertising.
What was his secret? Pen, paper, and ass on the chair. The rest
doesnt matter, he himself states laughing in one of the first
statements in Saru. Because Alejandra Islers film includes not
only the testimonies of friends, colleagues and people close to
him, but also statements and interviews of Sarudiansky himself,
commenting on the films he worked on, his graphic design pieces, or pictures from his family album. Saru is both a heartfelt and
thorough portrait of this brilliant mind of Argentine culture. MC

Ale Isler
Naci en Buenos Aires en 1975. Es licenciada en artes combinadas en la
UBA, tambin estudi diseo industrial y curs estudios de escenografa
con el arquitecto Gastn Breyer. Realiz varios cortos documentales y
dict cursos en diversas instituciones.
She was born in Buenos Aires in 1975. A Combined Arts graduate from
UBA, she also studied industrial design and attended set design courses
by architect Gaston Breyer. She directed several documentary short films
and taught courses in different institutions.

214

Argentina, 2016 / 74 / DM / Color / Espaol - Spanish


D, DA, P: Ale Isler G: Roberto Barandalla, Ale Isler F: Paula Grando
E: Gustavo Codella S: Leandro de Loredo PE: Miranda De S Souza
CP: Habitacin 1520, Mandrgora I: Jorge Sarudiansky,
Mara Julia Bertotto, Flix Chango Monti, Daniel Wolkovich, Marcelo Salvioli
Contacto / Contact
Ale Isler
T +54 9 11 5160 4886
E alejandraisler@gmail.com
W aleisler.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Cinefilias

Sin dejar rastros


Without a Trace
La pera prima de Kartaszewicz retrata la vida y obra del cineasta Quirino Cristiani (1896-1984), animador, dibujante e
historietista talo-argentino, creador de El apstol (1917), primer largometraje de animacin del mundo, cuya obra se ha
perdido casi por completo.

Kartaszewiczs first film depicts the life and work of filmmaker


Quirino Cristiani (1896-1984), an Italian-Argentine animator,
drawing artist, and comic book writer who created the worlds
first animated film El apstol (1917), and whose work is now
almost entirely lost.

Adems de la birome y el sistema dactiloscpico, en Argentina


naci el primer largometraje animado de la historia. El apstol
se estren en 1917, y sus 58.000 cuadros llevaban la firma de
Quirino Cristiani, quien no solo fue un pionero de los dibujos
animados, sino que tambin fund el primer campo nudista de
Sudamrica. Recortando figuras en cartulinas negras y uniendo
con hilo las articulaciones de los personajes, logr que los dibujos sacudieran el esqueleto al ritmo de una cancin (porque
tambin fue el responsable de crear el primer largometraje de
animacin sonoro en 1931). Disney es grande, pero yo fui el
primero, afirm el caricaturista que se dio el lujo de rechazar una oferta laboral del To Walt. Sin dejar rastros timonea
un barco pirata que busca aquellos tesoros de Cristiani que se
perdieron en un incendio como el de la biblioteca de Alejandra.
Maia Debowicz

Together with the rolling pen and the fingerprinting system, Argentina was also the home of the first animated film in history.
The Apostle was released in 1917 and the 58.000 frames were
signed by Quirino Cristiani, who was not only a cartoon pioneer,
but also the founder of the first nudist farm in South America.
Clipping figures in black poster board and sewing their limbs together, he managed to make the cartoons dance to a song he
was also responsible for the first animated film with sound in
1931. Disney is big, but I was the first one, said this cartoonist
who even rejected a job offer from Uncle Walt. Without a Trace
navigates a pirate ship in search of those Cristiani treasures
that were lost in a fire like the one in the Alexandria library. MD

Diego Kartaszewicz
Naci en Argentina en 1981. Estudi cine y se gradu en el CIEVYC en
2006. Actualmente se desempea como productor y realizador audiovisual en el Centro de Produccin Audiovisual de Quilmes, abocado fundamentalmente a la realizacin de documentales.
He was born in Argentina in 1981. He studied filmmaking and graduated at CIEVYC in 2006. He is currently a producer and director at the
Quilmes Audiovisual Production Center, where he mainly works with
documentaries.

Argentina, 2015 / 66 / DM / Color & B&N


Espaol - Spanish
D, G, S: Diego Kartaszewicz F: Esteban Corti, Luis Reggiardo
E: Valeria Racciopi DA: Roberta Snchez M: Guillermo Sniezyk
P, PE: Roberta Snchez CP: 16:9 Cine I: Manuel Garca Ferr,
Hctor Cristiani, Ral Manrupe, Natacha Mell, Norberto Galasso
Contacto / Contact
16:9 Cine. Roberta Snchez
T +54 11 4941 7822 E soloroberta@gmail.com
W 169cine.com ~ sindejarrastro.wix.com

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PREMIERE AMERICANA / AMERICAN PREMIERE

Cinephilias

Sipo Phantasma
Ghost Ship
Barco fantasma
Personas y personajes como Oscar Wilde, Murnau y Nosferatu
realizan un viaje a bordo de un crucero, navegando entre historias de naufragios, fantasmas, amores y vampiros, mientras
dejan que el espectador establezca los nexos entre las voces y
los captulos que conforman la pelcula.

People and characters like Oscar Wilde, Murnau, and Nosferatu take a trip on a cruise liner, sailing through stories of
shipwrecks, ghosts, love affairs and vampires, as they let the
viewer establish the links between the voices and the episodes that form this film.

Bienvenidos al primer crucero de una hora de duracin. Las


paradas: Murnau, Nosferatu, Stoker y Wilde, entre otras. Pngase cmodo y djese llevar por Almandoz, capitn-director de
esta original travesa cinfila, y disfrute de sus paisajes y espectculos. Conozca relatos perdidos en el tiempo y personajes
olvidados. Como un collage narrativo y visual, Sipo Phantasma
experimenta con variedad de registros y estilos para entrelazar
historias de romances, venganzas, prdidas y descubrimientos,
en un recorrido literario y cinematogrfico entre el misticismo y
la ancdota, el hecho y la invencin. Un viaje tan breve como
atrapante a travs de un ocano de espejos e ilusiones, lo que
es decir a travs del cine. Emiliano Andrs Cappiello

Welcome to the first one-hour cruise. The stops: Murnau, Nosferatu, Stoker and Wilde, among others. Brace yourself and get
carried away by Almandoz, captain-director of this highly original cinephile journey, and enjoy its landscapes and spectacles.
Learn about forgotten characters and tales lost in time. Like
visual and narrative collage, Sipo Phantasma experiments with
a variety of formats and styles in order to intertwine tales of romance, revenge, loss and discovery, in a literary and cinematic
journey between mysticism and anecdote, between fact and
invention. A brief but absorbing journey through an ocean of
mirrors and illusions, that is, through film. EAC

Koldo Almandoz
Naci en San Sebastin en 1973. Estudi periodismo y comunicacin
audiovisual; trabaj en radio y estudi cine en Nueva York. Realiz varios
cortometrajes, y es bajista de la banda de garage punk Gora Gora Kids.
He was born in San Sebastian in 1973. He studied journalism and audiovisual communication; he worked in radio and studied film in New York.
He directed several short films, and plays bass in the garage punk band
Gora Gora Kids.

216

Espaa - Spain, 2016


67 / DCP / Color
Espaol - Spanish
D, G: Koldo Almandoz F: Javier Agirre, Koldo Almandoz E: Laurent
Dufreche DA: Teatro Taun Taun S: Laurent Dufreche, Haimar
Olaskoaga M: Mediavox P, PE: Marian Fernndez CP: Txintxua Films
I: Florence Balcome, Maider Intxauspe
Contacto / Contact
Txintxua Films
T +34 943 393 380 E txintxua@txintxua.com W txintxua.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Cinefilias

Solos
Alone
Cuatro jvenes viajan en una camioneta por pueblos perdidos
de la selva, llevando una pantalla inflable y equipos necesarios
para proyectar pelculas en lugares recnditos del pas.

A group of four young people travel in a van through deserted


jungle towns, carrying an inflatable film screen and the necessary equipment to screen films in remote places in the country.

Cuatro amigos, una camioneta, una pantalla inflable y la voluntad de proyectar cine independiente en pequeos pueblos de la
Amazonia peruana: unos pocos datos que apenas constituyen el
andamiaje argumental de esta road movie. Hay, por supuesto,
comentarios al pie sobre el consumo de cine en zonas inhspitas, sobre la posibilidad de generar espacios que gambeteen la
lgica de las multisalas. Pero son apenas vas tangenciales de
una pelcula que transmite algaraba y vitalidad, transformando su
aventura romntica de objetivos cinfilos en una delicada pica
sobre la amistad. Solos se parece demasiado al viaje de MDMA
que se pegan sus personajes en pleno corazn selvtico. Y comprueba que s vale la pena darles duro a los deseos personales
aunque no sea ms que para disfrutar del recorrido. Eduardo
D. Bentez

Four friends, a truck, an inflatable projection screen, and a will


to screen independent cinema in small towns in the Peruvian
Amazon: these are the few pieces that form the plot structure
of this road movie. There are, of course, footnote comments
about film watching in deserted areas, and the possibility of
creating places that dribble from the multiplex logic. But these
are merely tangential direction in a film that expresses joy and
vitality, transforming this romantic, cinephile adventure into a
delicate epic story about friendship. Alone looks too much like
the MDMA trip the characters take in the middle of the jungle.
And it proves putting your energy into personal dreams is always worth it, even if its just to enjoy the ride. EDB

Joanna Lombardi
Naci en Per, y dirigi el cortometraje De noche (2009) y el largometraje
Casadentro (2013).
She was born in Peru, and directed the short film De noche (2009)
and the feature-length film Casadentro (2013).

Per / Francia - Peru / France, 2015


92 / DCP / Color / Espaol - Spanish
D, G: Joanna Lombardi F: Inti Briones E: Eric Williams
DA: Daniela Talavera S: Rosa Mara Oliart P: Tondero Films
PE: Miguel Valladares CP: Tondero Films, El rbol Azul
I: Wendy Vsquez, Alberto Rojas Apel, Rodrigo Palacios, Diego Lombardi
Contacto / Contact
EZ Films. Ray Meirovitz
T +33 953 698 094
E ray@ez-films.com
W ez-films.com/solos ~ tondero.com.pe

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

217

PREMIERE LATINOAMERICANA / LATAM PREMIERE

Cinephilias

The 1000 Eyes of Dr. Maddin


Los 1000 ojos del Dr. Maddin
Documental que se adentra en la cabeza del inclasificable director de cine canadiense Guy Maddin, un fantico del cine
mudo, el melodrama y el espiritismo. La cmara de Montmayeur se cuela entre bastidores durante la realizacin de su
ltima pelcula, The Forbidden Room.

A documentary that enters into the mind of unclassifiable


Canadian filmmaker guy Maddin, who is a fan of silent cinema, melodrama, and sance. Montmayeurs camera goes
behind the scenes during the making of his latest film The
Forbidden Room.

Me gustara que la gente mirara pelculas as como escucha


msica, sin preguntarse qu significa, dice Guy Maddin a poco
de empezar el documental, y el director Yves Montmayeur se
ocupa de ampliar esa discografa que conforman las pelculas
del canadiense sin tocar el sentido, dejando el misterio intacto. Lo hace sumando otras voces al coro: George Mlis, John
Waters, Isabella Rossellini, Jack Smith, Udo Kier, Fritz Lang, Buuel y los hermanos Quay parecen ac contemporneos en el
contrapunto que entra y sale del cine, pero, claro, nunca sale
del todo. Ejemplo: Maddin escuchaba en el habla de las mujeres
islandesas de su familia los ecos de los personajes de Josef von
Sternberg, y eso, ms que explicar la diccin extraada de sus
propias pelculas, habla de un cuerpo configurado por el cine
al punto de imaginarse como un mdium. Marina Yuszczuk

I would like that people would watch films the same way they
listen to music, without asking themselves what does it mean,
says Guy Maddin at the beginning of the documentary, and
director Yves Montmayeur expands the discography formed
by the Canadian directors films without tampering with their
meaning, and leaving the mystery intact. He adds voices to the
choir: George Mlis, John Waters, Isabella Rossellini, Jack
Smith, Udo Kier, Fritz Lang, Luis Buuel, and the Quay Brothers
are featured here as contemporaries in the counterpoint that
walks in and out of cinema without ever exiting completely. For
example: Maddin heard in the voices of the Islandic women from
his family the echoes of characters by Joseph con Sternberg,
and that expresses not so much the reason behind the strange
diction of his films as the notion of a body that is configured
by cinema up to the point of imagining itself as a psychic. MY

Yves Montmayeur
Naci en Francia en 1973, y dirigi numerosos largos documentales; entre ellos, Yakuza eiga: Une histoire secrete du cinema japonais
(2008; Bafici 09).
He was born in France in 1973, and directed several documentary
features, including Yakuza eiga: Une histoire secrete du cinema japonais
(2008; Bafici 09).

Estados Unidos / Francia - US / France, 2015 / 65


DM / Color & B&N / Ingls - English
D, G, F: Yves Montmayeur E: Fabien Bouillaud S: Stphane Lvy
P: Thierry Tripod PE: Thierry Tripod, Cdric Delport, Damien Le Boucher
CP: BrainWorks I: Guy Maddin, Kenneth Anger, Udo Kier,
Isabella Rossellini, John Waters
Contacto / Contact
Taskovski Films. Jasmina Vignjevic
T +387 65 659 214
E fest@taskovskifilms.com W taskovskifilms.com

218

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Cinefilias

Todo comenz por el fin


It All Started at the End
El Grupo de Cali, con Luis Ospina a la cabeza, se da a la tarea
de autorretratarse. Recorriendo su propia historia, se topa una
vez ms con los complejos aos setenta y ochenta, momento
en que se forjaron films fundamentales para comprender la
historia cinematogrfica de Colombia.

The Cali Group, with Luis Opina at the top, decides to make a
self-portrait. By going through their own past history, they run
into the complex 70s and 80s, the time when the films essential to understand Colombias cinema were forged.

Nunca se est ms vivo que cuando se teme a la muerte. Frente


a esta posibilidad, Luis Ospina decide revisitar sus recuerdos.
La historia clnica da pie a la historia personal, y sta a la historia de un tiempo, una ciudad, un pas y una cinefilia. Las figuras
de Andrs Caicedo, Carlos Mayolo y el propio Ospina (nico sobreviviente de la legendaria trada) estructuran este documental
en el que unas vidas son inseparables de las obras. El pasado
en blanco y negro y el presente en colores se mezclan
para dar cuenta de un colectivo de artistas (el grupo de Cali, o
Caliwood, como lo llamaban algunos) que, a partir de la dcada
del setenta, entre drogas, alcohol y rumba, delinearon una esttica en literatura, cine, teatro y artes plsticas, marcando as el
camino de toda una generacin. Marina Locatelli

Youre never more alive than when you fear death. Facing this
possibility, Luis Ospina decides to revisit his memories. His clinical history triggers his personal history, which in turn enables
the history of a time, a city, a country, and a cinephilia. The figures of Andrs Caicedo, Carlos Mayolo, and Ospina himself (the
sole survivor of this legendary triad) structure this documentary
in which lives are inseparable from their work. A black and white
past and a colored present day blend together to depict a group
of artist (the Cali group, or Caliwood, as some people called
it) who amidst drugs, alcohol, and partying sketched out a
particular aesthetics in literature, film, theater and art, back in
the early 70s. ML

Luis Ospina
Naci en 1949 en Cali, Colombia. Realiz, entre otras pelculas, Purasangre (1982), Soplo de vida (1999) y Un tigre de papel (2007), que se
proyect junto a otros de sus films en el foco que le dedic el Festival en
2008. Desde el 2009 se desempea como director artstico del Festival
Internacional de Cine de Cali.
Born in 1949 in Cali, Colombia. He directed several films, including Pure
Blood (1982), Breath of Life (1999) and A Paper Tiger (2007), which
was screened among other films by him in the Focus held on his work
by the Festival in 2008. Since 2009 he is the artistic director of the Cali
International Film Festival.

Colombia, 2015 / 208 / DCP / Color & B&N


Espaol - Spanish
D, G, P: Luis Ospina F: Francisco Medina E: Gustavo Vasco, Luis Ospina
S: Isabel Torres M: Camilo Sanabria, Franz Schubert, Johnny Pacheco &
Rolando Laserie, Los Speakers, Junior Jein, Bloque de Bsqueda
PE: Sasha Quintero Carbonell I: Luis Ospina, Carlos Mayolo,
Beatriz Caballero, Rosaro Caicedo, Sandro Romero Rey
Contacto / Contact
Luis Ospina
T +57 1 285 9912 +57 320 834 7905
E luisospina.cine@gmail.com W luisospina.com ~ porelfin.com

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219

Cinephilias - Charlie Lyne

Beyond Clueless
Ms all de Ni idea
Narrada por la ex estrella de culto adolescente Fairuza Balk,
esta pelcula-collage pone a la secundaria de Hollywood bajo
el microscopio, a travs de material de archivo de ms de 200
fragmentos de pelculas americanas de high school.

Narrated by former cult teen star Fairuza Balk, this collagefilm places Hollywood high schools under the microscope,
through archive footage from more than 200 American high
school movies.

El romance entre el cine y la adolescencia comenz a tomar


forma en la dcada del cincuenta, en algn punto entre Marlon
Brando, James Dean y Bill Halley. En los ochenta cobr fuerza inusitada de la mano de John Hughes, que se despeg de
productos la Porkys para delinear con mayor destreza un
perfil ms acabado de la juventud moderna. Lo que sigui fue
una andanada de largometrajes con/para/sobre adolescentes
que resumen las distintas vertientes del cine joven: primeros
amores, diferencias sociales, sexualidad y la siempre presente angustia adolescente. Cargado de arquetipos, es un gnero
con reglas propias que son estudiadas por Charlie Lyne en este
largometraje poblado con imgenes de ms de 200 pelculas,
narrado por Fairuza Balk y musicalizado con gran potencia por
Summer Camp. De visin obligatoria para los amantes del gnero. Pablo Conde

The romance between cinema and adolescence started to take


shape during the 50s, at some point between Marlon Brando,
James Dean and Bill Halley. In the 80s, it gained some unprecedented strength thanks to John Hughes, who stood away
from Porkys-style products in order to more skillfully sketch a
stronger profile of modern youth. What followed was an overabundance of features starring/for/about teenagers that summarize the different aspects of young cinema: first loves, social
differences, sexuality and the ever-present teenage angst. Filled
with archetypes, it is a genre with its own rules, which Charlie
Lyne studies in this feature populated by images from more than
200 films, narrated by Fairuza Balk and with some potent music
by Summer Camp. A must-see for lovers of the genre. PC

Charlie Lyne
Naci en 1991 y vive en Londres. Trabaja como periodista para The Guardian, y dirigi un corto y tres largos documentales.
He was born in 1991 and lives in London. He works as a journalist for
The Guardian, and directed a short film and three documentary features.

Reino Unido - UK, 2014 / 89 / DCP / Color


Ingls - English
D, F, DA: Charlie Lyne M: Summer Camp P: Charlie Lyne,
Billy Boyd Cape, Anthony Ing PE: Louis Bhose, Miles Haughton,
Oliver Levy, Fred Macpherson, Sue Odell CP: Beyond Clueless Limited
I: Fairuza Balk
Contacto / Contact
Charlie Lyne
T +44 7913 207 949
E hello@charlielyne.com
W charlielyne.com ~ beyondclueless.co.uk

220

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

Cinefilias - Charlie Lyne

Fear Itself
El miedo en persona
Construido en su totalidad a partir de escenas de distintas pelculas, el film enfrenta a los espectadores ante una amplia
gama de imgenes y sonidos de cien aos de cine de terror, y
los invita a descubrir cmo funciona el miedo.

Built entirely on scenes from different movies, this film faces


the viewer to a wide range of pictures and sounds from a hundred years of horror cinema, and invites you to find out how
fear works.

Una puerta chirriante, un susurro al odo, un bad trip en la calle, el misterio de lo que no se ve, la sensacin perturbadora
de estar solo, una pesadilla profunda que atormenta y no deja
dormir. Se puede gozar del miedo? Este documental recorre la
naturaleza del susto ejemplificndolo con un poderoso recorrido
de cien aos de historia del cine. El trabajo de la BBC se devela
como un interesante estudio del gnero y se yergue como un
viaje a la experiencia fsica del miedo. Una voz en off va hilando
la narracin entre imgenes de 8mm y Dark Water, pasando por
Poltergeist II, Suspiria, El sonido de la muerte y muchas ms.
Por eso la pelcula es una buena excusa para revisitar una de
las sensaciones ms placenteras? que provoca el hecho de
ver pelculas de horror: tener miedo de todo, hasta del miedo
mismo. Hernn Panessi

A screeching door, a whisper in the ear, a bad trip on the street,


the mystery of the unseen, the disturbing sensation of being
alone, a deep nightmare tormenting you and keeping you up.
Can you enjoy fear? This documentary goes through the nature
of scary with examples from a powerful tour through a hundred years of film history. The BBC work results in an interesting
study on the genre and stands as a journey into the physical
experience of fear. A voice over leads the narration, amidst images from 8mm to Dark Water, including Poltergeist II, Suspiria,
Blow Out, and many more. That is why the film is a good excuse
to revisit one of the most pleasant (?) feelings from watching
horror movies: being afraid of everything, even of fear itself. HP

Reino Unido - UK, 2015 / 88 / DCP / Color


Ingls - English
D, E, G: Charlie Lyne M: Jeremy Warmsley P: Catherine Bray,
Anthony Ing, Charlie Lyne, Daniel OConnor PE: Victoria Jaye,
Janet Lee CP: BBC I: Amy E. Watson
Contacto / Contact
BBC. Charlie Lyne
T +44 7913 207 949 E hello@charlielyne.com
W charlielyne.com ~ bbc.co.uk

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221

personas y personajes
People & Characters

PREMIERE LATINOAMERICANA / LATAM PREMIERE

people & characters

Carmona tiene una fuente


Carmona Has a Fountain
Barcelona cambia y muchos ya no entran en el nuevo paisaje
urbano que se est fraguando. Pedro Vzquez est a punto de
cumplir setenta aos y se ve obligado a abandonar el insalubre
piso donde vive en el Casco Antiguo. Pero a dnde ir?

Barcelona changes and lots of people are not part of the new
urban landscape that is being planned. Pedro Vazquez is about
to turn seventy and he is forced to leave the unhealthy apartment where he lives in the Old Quarter. But, where will he go?

En la celda tena una cama, una mesita y un placard. Y a la


noche apareca, detrs de los barrotes, un demonio que me
miraba y se rea de m. Pedro Vzquez tiene todas las restricciones posibles, pero no negociar la de entregar su libertad.
Antonio Trulln lo acompaa en esa obstinacin, y cada plano
que le da a Vzquez se convierte en un lugar de resistencia. Si
no es desafiando a la salud en un bar o en alguna deambulacin
nocturna, es gritndole a quien le viene a cobrar el alquiler o a
los edificios pblicos. Pedro sabe, independientemente de su
salud, que su final lleg hace rato para la sociedad en la que
vive; entonces la contempla con dolor, casi cado de la historia,
como un personaje de western, pero tambin con cierta impunidad vengativa. La maldice, ahora desde afuera, como un
demonio tras los barrotes que se re de los nuevos presidiarios.
Daniel Alaniz

In my cell, I had a bed, a small table, and a closet. And every


night, a demon showed up from behind the bars, looking and
laughing at me. Pedro Vazquez finds himself restricted in every
possible way, yet he wont negotiate his freedom. Antonio Trulln joins him in that stubbornness, and every shot of Vzquez
becomes a place of resistance. He can be compromising his
own health in a bar, wandering around at night, or shouting
either at a person who comes to collect his rent, or at public
buildings. Regardless of his health, Pedro knows the end of him
has come a long time ago in the community he lives in. So, he
contemplates it in pain, as if fallen from history like a character in a western, but also with a certain vindictive impunity. He
curses it from the outside now, like a demon coming across the
bars and laughing at the new inmates. DA

Antonio Trulln
Naci en Barcelona en 1980. Estudi teora de la literatura y literatura
comparada en la Universidad de Barcelona y la Nueva Sorbona de Pars, y
montaje en el Instituto Nacional de las Artes del Espectculo de Bruselas
(INSAS). Carmona tiene una fuente es su primer trabajo como realizador.
He was born in Barcelona in 1980. He studied theory of literature and
compared literature at the University of Barcelona and the New Sorbonne
in Paris, as well as film editing at the National Institute of the Arts of
Spectatle in Brussels (INSAS). Carmona Has a Fountain is his first work
as a filmmaker.

224

Espaa - Spain, 2015


57 / DCP / Color
Espaol - Spanish
D, G, F, DA, S, P, PE: Antonio Trulln E: Antonio Trulln, Valeria Stucki
I: Pedro Vzquez, Esmeralda, Mami Watanabe, Losan
Contacto / Contact
Playtime Audiovisuales. Natalia Piuel
T +34 687 095 212
E natalia@playtimeaudiovisuales.com
W playtimeaudiovisuales.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

personas y personajes

El Francesito. Un documental
(im)posible sobre Enrique Pichon-Rivire
The Little French
Ms de una encuesta afirma que Argentina es uno de los pases
con ms psicoanalistas en el mundo. En este documental, Kohan investiga como si fuera Sherlock Holmes de qu manera la
obra de Enrique Pichon-Rivire provoc semejante fenmeno.

Several polls confirm Argentina is one of the cities with the


most psychoanalysts in the world. In this documentary, Kohan
investigates, in Sherlock Holmes style, how the work of Enrique Pichon-Riviere caused this phenomenon.

No existiran en Argentina tantos fanticos de Woody Allen de


no ser por Enrique Pichon-Rivire. El Francesito, como le decan sus amigos, ancl las races del psicoanlisis en nuestro
pas para que crezcan como rboles gigantescos que en vez de
frutos ofrecen divanes. El psiquiatra y psicoanalista creci en la
selva chaquea, entre las manchas de los pumas y los dientes
afilados de los yacars. Cuentan sus allegados que esa infancia
salvaje fue el crayn que bocet su camino profesional, el cemento con el que construy su obsesin por descifrar la locura.
Kohan entrevista a colegas, familiares y admiradores de la obra
de Pichon-Rivire para convertir al monumento en ser humano.
A travs de diferentes ancdotas, el director teje un sweater
de celuloide que abriga al mismo tiempo que pica. Eso es, en
definitiva, lo que produce el psicoanlisis. Maia Debowicz

There wouldnt be so many Woody Allen fans in Argentina if


it werent for Enrique Pichon-Rivire. The Little Frenchman, as
his friends called him, anchored the roots of psychoanalysis in
order for them to grow like giant trees that offer couches instead
of fruit. The psychiatrist and psychoanalyst grew up in the Chaco
jungle, among the puma spots and sharp alligator teeth. His
friends and relatives say that his wild childhood was the crayon
that sketched his career path, the concrete with which he built
his obsession for deciphering madness. Kohan interviews colleagues, relatives and admirers of Pichon-Rivires work in order to turn the monument into a human being. Through different
anecdotes, the director knits a celluloid sweater that keeps you
warm and itches at the same time. That is, in short, what psychoanalysis does. MD

Miguel Luis Kohan

Argentina, 2016 / 85 / DCP / Color & B&N / Espaol - Spanish

Naci en 1957, estudi cine y produccin de televisin en Los ngeles.


Es el fundador de la productora K Films, y dirigi Salinas grandes (2001),
Caf de los maestros (2009), y el unitario Lluvia csmica (2015).
He was born in 1957, and studied film and TV production in Los Angeles.
Hes the founder of the production company K Films, and directed Salinas grandes (2001), Caf de los maestros (2009), and the series Lluvia
csmica (2015).

D, G, P, DA: Miguel Luis Kohan F: Miguel Luis Kohan,


Jos Mara Gmez E: Rosario Cervio S: Gustavo Pomenarec,
Diego Martnez M: Gustavo Pomenarec PE: Nicols Batlle
CP: K Films I: Joaqun Pichon Rivire, Alfredo Moffatt,
Ana Quiroga, Juan Jos Stagnaro, Estela Baistrocchi
Contacto / Contact
K Films. Miguel Luis Kohan
T +54 11 4556 0723
E mkohanfilms@gmail.com
W kfilmscine.com ~ kfilmsproducciones.wordpress.com

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225

people & characters

Il solengo
Un grupo de viejos amigos se rene en una pequea cabaa
para recordar a Mario de Marcella, un ermitao que viva en el
bosque cerca de Roma. Lo llamaban Il Solengo, que en el dialecto toscano hace referencia a un jabal aislado de la manada.

A group of old friends gather in a small cabin to remember


Mario de Marcella, a hermit living in the woods near Rome.
They used to call him Il Solengo, a Tuscan dialect reference for
a boar that stranded away from the heard.

El protagonista de esta pelcula tan spera como contundente


es un ser solitario cuyo comportamiento resulta un enigma para
quienes lo rodean: il solengo del ttulo es en definitiva un animal
perdido, cuyo recuerdo persiste en los relatos de los mayores
de un pueblo de la campia italiana en las afueras de Roma. La
pelcula se articula a partir de charlas y testimonios de quienes
conocieron al personaje, para trazar desde all un panorama
gris, lleno de zonas inasibles, de la primera mitad del siglo XX
en Italia. La infelicidad secreta del personaje, figura central aunque elusiva de la trama, as como su hosquedad y su naturaleza
insondable, se presentan como el fantasma de todo relato que
se precie: as como no hay historia que valga sin claroscuros,
tampoco hay cine de verdad sin un misterio cuya resolucin
est condenada al fracaso. David Obarrio

The main character in this rough and blunt film is a lonely person whose behavior is a mystery, even for those around him: the
solengo from the title is, in the end, a lost animal whose memory
persists in the stories of the elders in an Italian rural town outside Rome. The film is articulated through a series of conversations and testimonies from people who knew the character. It
later draws a gray landscape, filled with intangible areas, of the
first half of the 20th century in Italy. The secret unhappiness of
the character an essential yet elusive element of the plot and
his grim, bottomless nature are all presented like the ghost of
any self-respecting story should. Just like theres no story without shady areas, no true cinema lacks a mystery with a solution
that is doomed to fail. DO

Los directores / the Directors


Alessio Rigo de Righi: Naci en Estados Unidos en 1986, y estudi
literatura en Roma y cine en Nueva York. Matteo Zoppis: Naci en Roma
en 1986 y estudi cine en Nueva York. Juntos dirigieron el mediometraje
Belva Nera (Premio del Jurado en Cinema du Reel 2014, Bafici 14).)
Alessio Rigo de Righi: He was born in the US in 1986, and studied
literature in Roma and filmmaking in New York. Matteo Zoppis: He was
born in Rome in 1986 and studied filmmaking in New York. Together,
they directed the medium-length film Belva Nera (Jury Prize at Cinema
du Reel 2014, Bafici 14).

226

Italia / Argentina - Italy / Argentina, 2015 / 70 / DCP / Color /


Italiano - Italian
D, G: Alessio Rigo de Righi, Matteo Zoppis F: Simone dArcangelo
E: Andrs Pepe Estrada, Alessio Rigo de Righi, Matteo Zoppis
S: Marcos Molina Jaime P: Tommaso Bertani, Alessio Rigo de Richi,
Matteo Zoppis, Agustina Costa M: Vittorio Giampietro, Fabrizio Magliocca
CP: Ring Film, Cosa Rossa Film, Volpe Films I: Bruno di Giovanni, Ercole
Colnago, Giovanni Morichelli, Ugo Farnetti, Orso Pietrini
Contacto / Contact
Ring Film, Volpe Films. Agustina Costa
T +54 11 5752 5653 E agustina@volpefilms.com
W volpefilms.com ~ ringfilm.it/ilsolengo

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

personas y personajes

Jess & James


Jess y James son dos jvenes que tienen un breve encuentro
sexual y emprenden un viaje a travs de la pampa argentina
para reunirse con el hermano de Jess. En el camino se enfrentarn a sucesos inesperados y participarn en un tro con
otro hombre.

La vida sin fantasa no tiene ningn sentido. Y en base a eso


construye Giralt su fbula romntica de escape hacia la libertad,
sea sexual, identitaria o ldica. Los muchachos solo quieren
divertirse, no quieren quedar atados a las cadenas del mundo
del trabajo, de las apariencias, del pretender ser. Son cowboys
queer habitando su road movie particular, su renacer rural, donde la ciudad solo implica rutinas, escondites y simulaciones.
El campo, con su infinita planicie verde, es una invitacin a la
sensualidad, a toquetearse sin tapujos, a dejar atrs vnculos
viciados ms regidos por el pasado que por la inmediatez ertica del presente. Juventud que es puro deseo, como la pelcula
misma, que exhibe gozosa una total empata hacia su tierna
rebelda. Guido Segal

Santiago Giralt

Jess y James are two young men who share a brief sexual
encounter and go out on a trip through the Argentine pampas
to meet Jess brother. On the way, they will face unexpected
events and join a three-way with another man.

Life without fantasy is pointless. And Giralt uses this statement


as the basis of his romantic fable about an escape towards
freedom (sexual, identitary or playful). Boys just want to have
fun; they dont want to remain tied to the chains of the world of
labor, of appearances, of expectations. They are queer cowboys
inhabiting their own private road movie, their rural rebirth, where
the city involves routines, hideouts and simulations. The country, with its endless green plains, is an invitation to sensuality,
to touching each other without reservations, to leaving behind
stale bonds that are more tied to the past than to the erotic
urgency of the present. Youth thats pure desire, like the film
itself, which joyously exhibits total empathy towards their tender
rebelliousness. GS

Argentina, 2016 / 90 / DM / Color / Espaol - Spanish

Dirigi Toda la gente sola (2009), Antes del estreno (2010), Anagramas
(2014) y es uno de los realizadores de UPA 2! El regreso (Bafici 15).
He directed Toda la gente sola (2009), Antes del estreno (2010), and
Anagramas (2014) and is one of the directors of UPA 2! El regreso (Bafici 15).

D, G, E: Santiago Giralt F: Connie Martin DA: Julieta Lopez Acosta


S: Nicolas Payueta M: Emisor P: Federico Carol, Derek Curl
PE: Federico Carol, Andrew Chang CP: Los Griegos Films,
TLA Releasing I: Martn Karich, Nicols Romeo, Federico Fontn,
Alejandro Paker, Nahuel Mutti
Contacto / Contact
Los Griegos Films. Federico Carol
T +54 9 11 6306 5288
E federico@losgriegosfilms.com
W losgriegosfilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

227

PREMIERE MUNDIAL / WORLD PREMIERE

people & characters

La piel marcada
Scars
Boxeador y poeta, Sergio Vctor Palma fue el primer campen
mundial argentino en obtener el ttulo en Estados Unidos. Ahora, a los 59 aos, se propone refundar un gimnasio de Lans en
el que, desde su sillita ubicada a un costado del ring, contina
alentando a los jvenes a perseguir sus sueos.

A boxer and a poet, Sergio Victor Palma was the first Argentine
champion to obtain the title in the US. Now, at the age of 59, he
wants to reopen a gym in Lanus where he continues to encourage young people to pursue their dreams, from a small chair
by the side of the ring.

En el ring puedo quedarme hasta ser viejo y con canas, porque s cmo pegar y bailar para desaparecer, dijo una vez
el Superman del boxeo, Mohamed Ali. Un sentimiento similar
cobij por dcadas a Sergio Vctor Palma, el primer campen
mundial argentino en obtener el ttulo en Estados Unidos. El
boxeador chaqueo que provoc furor en la gente a fines de
los setenta ya no cubre sus manos con los acolchonados
guantes: ahora lucha dentro de un cuerpo daado para que
no se derritan sus recuerdos. Hernn Fernndez retrata con
primeros planos la serenidad de ese hombre sabio que, adems de pelear como Rocky y entrenar a los ms jvenes con
la pasin de Mickey, fue poeta y msico, e intenta descubrir
una respuesta a la pregunta que persigui a Sergio por aos:
qu sucede despus de que uno llega a la cima del mundo?
Maia Debowicz

I can stay on the ring until Im old and go gray, because I


know how to hit and dance in order to disappear, said once
the Superman of boxing, Muhammad Ali. The first Argentine world champion to have won the title in the US, Sergio
Vctor Palma, held a similar feeling for decades. The fighter
from Chaco, who raised passions among people in the late
60s, no longer covers his hands with gloves: he now fights
inside his damaged body to prevent the memories from melting away. Hernn Fernndez uses close-ups to depict the
serenity of this wise man he fights like Rocky, trains the
young with Mickeys passion, and was also a poet and a
musician and tries to find an answer to the question that
haunted Sergio for years: what happens after you reach the
top of the world? MD

Hernn Fernndez
Naci en Buenos Aires en 1985. Es director de montaje egresado de la
ENERC. Dirigi el mediometraje El segundo oficio (2013) y el largo Puerto
Paticu (2014).
He was born in Buenos Aires in 1985. He is an editor graduated from
ENERC. He directed the medium length film El segundo oficio (2013) and
the feature-length film Puerto Paticu (2014).

228

Argentina, 2016 / 76 / DCP / Color


Espaol - Spanish
D, G, P: Hernn Fernndez F: Diego Gachassin E: Luciano Sosa,
Hernn Fernndez S: Julin Caparrs PE: Morena Fernndez
Quinteros, Sergio Acosta I: Sergio Vctor Palma, Matas Zavalla,
Orieta Edith Gilberto
Contacto / Contact
Hernn Fernndez
T +54 9 11 6548 2598
E hfcine@gmail.com
W lapielmarcada.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

personas y personajes

Linefork
Lee Sexton, quien comenz a tocar el banjo a los 8 aos, proviene de una familia de agricultores de una zona rural de Kentucky, conocida por su pobreza y sus minas de carbn. Esta
figura legendaria es el motor de esta pelcula que recorre su
historia de vida.

Lee Sexton started playing banjo when he was 8 years old, and
he comes from a farmers family in a rural area of Kentucky,
known for its poverty and carbon mines. This legendary figure
is the engine of the film, which covers his life story.

Estados Unidos es muchos pases en uno, y entre sus linajes se


encuentra la veta ms telrica, donde el sonido de un banjo tie
de alegres melodas el paisaje agreste de planicies ocres. Kentucky, baada en bourbon y trenes oxidados, es un exponente
de un pasado mtico, de cadenas rotas, de acentos marcados,
gorras militares y valores tradicionales. Es tambin donde Lee
Sexton leyenda olvidada del banjo y minero retirado y su
esposa viven su plcida vejez, poblada de silencios y complicidades; donde cosechan porotos, respiran msica y lidian con
la carga impositiva de un gobierno que se ha olvidado de ellos.
Silva y Rawlins nos invitan a visitar el rincn menos glamoroso
de la fastuosa nacin, donde la herencia se defiende a golpe
de cuerda y la vida es concreta en los confines del hogar rural,
como le hubiera gustado a Henry David Thoreau. Guido Segal

The US is many countries in one, and between its lineages,


we can find its most earthly vein, where the sound of a banjo
tinges the rural landscape of ochre plains with joyful melodies.
Kentucky, steeped in bourbon and rusty trains, is an example
of a mythical past, of broken chains, marked accents, military
berets, and traditional values. Its also where Lee Sexton a forgotten banjo legend and retired miner and his wife live their
placid old age, filled with silences and complicities; where they
harvest beans, breathe music and deal with the tax burden of
a government that has forgotten them. Silva and Rawlins invite
us to visit the less-glamorous corner of this sumptuous nation,
where legacies are defended at the hit of a string and life is concrete in the confines of a rural home, as Henry David Thoreau
would have liked. GS

Jeff Silva
Es profesor y programador. Dirigi los documentales Balkan Rhapsodies:
78 Measures of War (2008) e Ivan and Ivana (2011).
Hes a film professor and programmer. He directed the documentaries
Balkan Rhapsodies: 78 Measures of War (2008) and Ivan and Ivana (2011).

Vic Rawlings
Vive en Massachusetts. Es msico especializado en instrumentos de
cuerda y maestro.
He lives in Massachusetts. Hes a musician specialized in string instruments, and a teacher.

Estados Unidos - US, 2016 / 98 / DCP / Color


Ingls - English
D, F, E, P: Jeff Silva, Vic Rawlings S: Ernst Karel M: Lee Sexton
Contacto / Contact
Silva-Rawlings Productions. Jeff Silva
T +1 617 642 5737
E jeffdanielsilva@gmail.com
W linefork.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

229

PREMIERE LATINOAMERICANA / LATAM PREMIERE

people & characters

Looking for Exits - Conversations


with a Wingsuit Artist
Buscando salidas - Conversaciones con una artista del wingsuit
Atleta y artista del aire, Ellen Brennan vuela desde arriba de las
nubes con su traje especial a 240 kilmetros por hora. Como si
se tratara de una Henry David Thoreau de la actualidad o una
Nietzsche voladora, el director explora el lado filosfico de una
mujer impredecible.

An athlete and airborne artist, Ellen Brennan flies above the


clouds with her special suit at 240 kilometers per hour. As if
she was a current version of Henry David Thoreau or a flying
Nietzsche, the filmmaker explores the philosophical side of an
unpredictable woman.

El wingsuit del subttulo es un traje que se utiliza para volar por


los aires. La gente se tira de aviones y planea un rato; otros,
como Ellen Brennan, aumentan el riesgo: suben montaas y
se tiran a travs de precipicios. No son pocos los que se matan
contra una roca, o al menos ven su carrera truncada por una
herida grave. Looking for Exits explora este mundo a partir de
breves conversaciones con Brennan, una de las practicantes
con ms aos en el deporte. Mientras se atraviesan paisajes
fascinantes, los dilogos traspasan la discusin sobre el mero
hobby y exploran filosofas de vida, necesidades de escapismo
y bsquedas personales. As, la pelcula trasciende el retrato
de un personaje y se convierte en una paciente exploracin de
esa delgada lnea que divide la pasin de la locura. Emiliano
Andrs Cappiello

The wingsuit mentioned in the films title is a suit you use to fly
in the air. Some people wear it to jump from airplanes and glide
temporarily, while others like Ellen Brennan raise the stakes:
they climb up mountains and jump off cliffs. Quite some of them
end up killed by crashing into a rock, or at the very least have
their careers terminated by a serious injury. Looking for Exits explores this world through brief conversations with Brennan, one
of the longest-running players of this sport. While going through
fascinating landscapes, the dialogues go beyond the hobby
to explore philosophies of life, escapism needs, and personal
quests. Thus, the film transcends the portrait of a character to
become a patient exploration of that thin line dividing passion
from madness. EAC

Kristoffer Hegnsvad
Nacido en Dinamarca en 1978, se desempea como jefe de redaccin
de Film & TV, edicin semanal del diario Dagbladet Politiken. Estudi
filosofa y estudios culturales en la Universidad de Copenhagen y en la
Sorbona de Pars. Looking for Exits es su primer trabajo como director.
Born in Denmark in 1978, he is an editor in chief for Film & TV, a weekly
edition of the Dagbladet Politiken newspaper. He studied philosophy and
cultural studies at the University of Copenhagen and the Sorbonne in
Paris. Looking for Exits is his directorial debut.

230

Dinamarca - Denmark, 2015 / 62 / DCP / Color / Ingls - English


D: Kristoffer Hegnsvad G: Kristoffer Hegnsvad, Peter Alsted
F: Peter Alsted E: Paul Colcer DA: Troels Schwarz, Astrid Friis Reitzel
S: Peter Albrechtsen, Anne Gry Friis Kristensen M: Rune Glerup
P: Cecilie C. Caspersen PE: Kristoffer Hegnsvad, Peter Alsted
CP: Empty Chairs I: Ellen Brennan
Contacto / Contact
Empty Chairs. Cecilie Caspersen
T +45 2857 8485
E we@emptychairs.dk ~ caspersen.film@gmail.com
W emptychairs.dk ~ lookingforexits.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

personas y personajes

Murales. El principio de las cosas


Murals. The Beginning of Things
Francisco entrena para cruzar nadando el Ro Paran. La hazaa es casi tan grande como la de terminar el documental
que filma hace ocho aos acerca de un colectivo de ex presos
polticos que pinta murales en homenaje a los desaparecidos.

Francisco trains to swim across the Paran River. The feat is


almost as big as finishing the documentary he has been making for the past eight years about a group of former political
prisoners that paints murals honoring the desaparecidos.

Murales aborda un tema ciertamente doloroso con un espritu


desconcertante, ms cerca de la investigacin no del todo empeosa sobre el modo en que se construye una pelcula que de
los fantasmas que pueblan la memoria y el pasado reciente de
la Argentina. El director indaga acerca de un familiar desaparecido en la ltima dictadura, pero al mismo tiempo busca un
tono, una forma, rasgos discernibles para contar eso que no se
sabe cmo contar. La pelcula encuentra momentos luminosos,
navega entre brumas de un humor ligero, el desaliento propio
de un caso que parece destinado a no esclarecerse nunca y la
incertidumbre de estar movindose en un terreno esquivo, con
agujeros negros y sobrevivientes lacnicos. La falta de certezas
de la pelcula, su constitucin inorgnica, resulta ser al final su
sello ms distintivo y secretamente conmovedor. David Obarrio

Murals taps into a certainly painful subject with a disconcerting


spirit, closer to the not-very-diligent investigation on the way a
film is built than to the ghosts that populate Argentinas memory
and recent past. The director looks into the disappearance of
a relative during the last dictatorship, but, at the same time,
seeks a tone, a form, discernible features in order to tell that
which one doesnt know how to tell. The film finds some luminous moments, navigates through hazes of light humor, the discouragement caused by a case that seems destined to remain
unsolved and the uncertainty of moving through elusive ground,
with black holes and laconic survivors. In the end, the films
lack of certainties, its inorganic setup, ends up being its most
distinctive and secretly moving feature. DO

Francisco Matiozzi Molinas


Naci en Rosario en 1978, y es licenciado en Comunicacin Audiovisual.
Adems trabaja como montajista y docente. Debut como director con
su corto Pochormiga (2004).
He was born in Rosario in 1978, and majored in Audiovisual Communication. He also works as an editor and teacher. He debuted in filmmaking
with his short film Pochormiga (2004).

Argentina, 2016 / 66 / DCP / Color & B&N / Espaol - Spanish


D, G, E: Francisco Matiozzi Molinas F: Francisco Matiozzi Molinas,
Mauro Barreca DA: Luciana Lacorazza S: Gabriela Rivas Feoli,
Francisco Matiozzi Molinas M: Ivn Tarabelli P, PE: Luciana Lacorazza,
Francisco Matiozzi Molinas CP: Avi Films I: Francisco Matiozzi Molinas,
Hayde Molinas, Horacio Dalmonego, Luis Megas, Hugo Papalardo
Contacto / Contact
AVI Films. Luciana Lacorazza
T +54 9 341 656 8763 +54 9 341 3447890
E lacorazza.luciana@gmail.com ~ franciscomatiozzi@hotmail.com
W avifilms.com.ar ~ murales.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

231

people & characters

Un Franais
French Blood
Un francs
Marco forma parte de un grupo de skinheads que pasan sus
das golpeando negros, rabes y judos. Hasta que se produce
un quiebre y Marco desea emprender otro camino, mientras que
las personas a su alrededor continan de la misma manera.

Marco is part of a group of skinheads who spend their days


beating up blacks, Arabs and Jews. Until Marco decides to go
on another path while those around him stay the same.

La primera media hora de Un franais, afilada y pasada de


testosterona, remite directamente a Made in Britain, de Alan
Clarke, uno de los retratos ms incmodos que se recuerdan
del resurgimiento de la ultraderecha en la Europa de los aos
ochenta. Sin embargo, si la estrategia de Clarke en su pelcula
pasaba por una confianza ciega en el combate dialctico para
explicarnos a su personaje, en Un franais nos encontramos
con otra cosa: el seguimiento de Marco, protagonista del film,
durante dos dcadas en las que su vida se ir derrumbando
lentamente, as como los lazos con quienes lo rodean. El retrato
de esos veinte aos servir tambin para mostrarnos cmo la
institucionalizacin del odio es la prueba final y definitiva de otro
derrumbe: el de la idea de un pas o un continente. Fran Gayo

The first, sharpened and testosterone-filled half-hour of French


Blood evokes Alan Clarkes Made in Britain, one of the most
uncomfortable portraits ever made about the emergence of
the ultra-right wing in 80s Europe. However, whereas Clarkes
strategy was a blind trust in dialectic combat as a way to explain
his main character, French Blood features a different thing: the
film follows the main character Marco for two decades in which
his life will slowly crumble, together with his relationships with
everyone around him. The portrait of those twenty years will also
serve as an illustration of how the institutionalization of hate is
the ultimate and definitive proof of yet another collapse: the notion of a country or a continent. FG

Diastme
Dramaturgo, msico, actor, guionista y realizador francs. Dirigi varios
cortos y el largo Le Bruit des gens autor (2008).
A French playwright, musician, actor, screenwriter and filmmaker. He
directed many shorts and the feature Sunny Spells (2008).

Francia - France, 2015 / 97 / DCP / Color


Francs - French
D, G: Diastme F: Philippe Guilbert E: Chantal Hymans DA: Riton
Dupire-Clment S: Thomas Lefevre, Germain Boulay M: Jean-Marie
Blondel P: Philippe Lioret PE: Marielle Duigou CP: Fin Aot, Mars Films,
France 3 Cinma I: Alban Lenoir, Samuel Jouy, Paul Hamy, Olivier
Chenille, Jeanne Rosa
Contacto / Contact
Indie Sales Company. Martin Gondre
T +33 1448302 28 E festival@indiesales.eu
W indiesales.eu

232

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

personas y personajes - penny lane

Our Nixon
Nuestro Nixon
Pelculas de Super 8 caseras nunca antes vistas, filmadas por
los colaboradores ms cercanos a Richard Nixon y conspiradores de Watergate que ofrecen un punto de vista ms ntimo
del famoso caso que involucra al funcionario.

Unreleased, homemade films in Super 8 shot by Richard


Nixons closest aids and Watergate conspirators offering an
intimate view of the famous case involving the president.

H. R. Haldeman, John Ehrlichman y Dwight Chapin. Tres hombres jvenes, alejados de la poltica, que de pronto entraron en
el corazn de la Casa Blanca bajo el brazo de Richard Nixon.
Como jugando, estos hombres grabaron con una cmara Super
8 ese mundo nuevo que los fascina. Our Nixon recoge estas
imgenes, archivadas durante aos, que van mostrando esa
fascinacin casi adolescente por el poder, por el lujo, por el
encanto de estar cerca de la oficina ms poderosa del mundo.
Pero, poco a poco, todo va cambiando: primero las protestas
pacifistas, los movimientos juveniles, la indignacin por Vietnam. Y despus Watergate, que termina siendo la estocada
final para estos jvenes poderosos cuyo juego termina de la
peor manera. De wonder boys a mancha en la historia de Estados Unidos: Our Nixon es la crnica de tan oscuro recorrido.
Rodrigo Bedoya

H. R. Haldeman, John Ehrlichman and Dwight Chapin. Three


young men who didnt come from politics, but soon entered
the heart of the White House under Richard Nixons wing. As if
playing a game, these men captured that new world that fascinated them with a Super 8 camera. Our Nixon compiles these
images, which had been archived for years, showing that almost
adolescent fascination for power, for luxury, for the joy of being
near the most powerful office in the world. But, little by little,
everything starts changing: first came the pacifist protests, the
youth movements, the outrage for Vietnam. And then Watergate,
which ends up being the deathblow for these powerful young
men whose game ends up in the worst possible way. From
wonder boys to a stain in the history of the US: Our Nixon is the
chronicle of such a dark journey. RB

Penny Lane
Se gradu en el Vassar College de Nueva York, EE. UU. Es cineasta y,
ocasionalmente, video artista, curadora y profesora de cine, video y
nuevos medios artsticos. Adems de cortometrajes como The Abortion
Diaries (2005), dirigi dos largometrajes.
She graduated from Vassar College in New York, USA. Shes a filmmaker,
and occasional video artist, curator, and professor of film, video and new
art mediums. She directed several short films, including The Abortion
Diaries (2005), and directed two feature-length films.

Estados Unidos - US, 2013 / 85 / DCP / Color & B&N


Ingls - English
D: Penny Lane E: Francisco Bello S: Tom Paul
M: Hrishikesh Hirway P: Penny Lane, Brian L. Frye
PE: Dan Cogan CP: Dipper Films, Impact Partners, PILOT
I: H.R. Haldeman, John Ehrlichman, Dwight Chapin
Contacto / Contact
Dipper Films. Penny Lane
T +1 347 255 3416
E lennypane@gmail.com
W lennypane.com ~ ournixon.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

233

PREMIERE LATINOAMERICANA / LATAM PREMIERE

People & Characters - Penny Lane

Nuts!
Bolas!
Antes del Viagra haba trasplantes de testculos de cabra, hombres con grandes sueos y un hroe improbable, el Dr. John
Brinkley, cuya extraa historia cuenta este documental animado.

Before Viagra, there were transplants of goat testicles, men


with huge dreams, and an unlikely hero named Dr. John Brinkley, and his weird story is told in this animated documentary.

Ver para creer: la excntrica, apabullante, desquiciada historia


del Dr. John Romulus Brinkley (1885-1942), un genio de la estafa que erigi un imperio millonario durante la Gran Depresin
a partir de un peculiar invento para la cura de la impotencia
sexual; creando tambin, por el camino, esa maldicin moderna
que es el infomercial. Desarrollada dcadas antes del Viagra, la
tcnica consista en la (presunta) implantacin en el paciente
de testculos de chivo. A partir de algunas entrevistas, del
escaso material documental disponible y de unas divertidas
recreaciones animadas, Penny Lane despliega el retrato de un
personaje inenarrable con la irona justa y una enorme fascinacin, a la vez que plantea una entusiasta reflexin sobre esa
disposicin, perfectamente humana, a creer en lo sobrenatural,
en curas mgicas y soluciones milagrosas. Mariano Kairuz

You have to see it to believe it: this is the eccentric, overwhelming, deranged story of Dr. John Romulus Brinkley (1885-1942),
a genius con man who built a millionaire empire during the
Great Depression through a particular invention that was meant
to cure sexual impotence on the way, he also created that
modern curse called infomercials. Developed decades before
Viagra, the technique consisted in (presumably) implanting the
testicles of a goat. Through interviews, the scarce archive
footage available, and some entertaining animated reenactments, Penny Lane lays out a portrait of an impossible character, with the right amount of irony and a huge fascination, which
in turn proposes an enthusiastic reflection on that perfectly human disposition to believe in supernatural things, magic cures,
and miraculous solutions. MK

Estados Unidos - US, 2016 / 79 / DCP / Color & B&N


Ingls - English
D, F, DA: Penny Lane G: Thom Stylinski E: Penny Lane, Thom Stylinski
S: Tom Paul M: Brian McOmber P: Caitlin Mae Burke, James Belfer,
Daniel Shepard, Penny Lane PE: Dan Cogan, Elias Savada
CP: Gland Power Films, Cartuna I: Pope Brock, Gene Fowler,
Megan Seaholm, Jim Reardon
Contacto / Contact
Gland Power Films LLC. Penny Lane
T +1 347 255 3416 E lennypane@gmail.com
W lennypane.com ~ nutsthefilm.com

234

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Arquitectura
Architecture

PREMIERE LATINOAMERICANA / LATAM PREMIERE

architecture

Barbicania
Bka y Lemoine se proponen realizar un video-diario de un
mes en la vida del Barbican, desde los pisos superiores de
las torres hasta los niveles subterrneos del centro de arte
situado en Londres. Un mapa ntimo de esta obra maestra de
la arquitectura brutalista.

Bka and Lemoine intend to make a video-diary of one month


in the life of Londons Barbican, from the top floors of the towers to the underground levels of the art center. An intimate
map of this masterpiece of brutalist architecture.

Todos los das, dos hombres tocan el piano en la biblioteca del


Barbican Centre. Y, en los cuatro aos que llevan hacindolo, solo
hablaron una vez; dicen que no necesitan saber ms del otro. En
otro extremo, en lo ms alto de una de las torres, un matrimonio
cuenta que cuando llegaron estaban fascinados con la vista, salvo
por una torre gigante y espantosa: otro mdulo del Barbican, igual
al que ellos habitan. El Barbican Centre es un espacio enorme
de encuentros, desencuentros y reflejos deformes; una autopista
humana de contradicciones, como ese sentimiento de pertenencia de sus habitantes a un lugar alienante. Y ya que hablamos de
ciencia y de ficcin, es tambin un chip prodigioso lleno de fallas
en la matrix: como esa esquina donde siempre se forman remolinos de viento, o ese rincn tan particular a la vista, pero imposible
de fotografiar por cmo le da el sol. Daniel Alaniz

Every day, two men play the piano at the Barbican Centre library.
And in all the four years they have been doing this, theyve only
talked to each other once according to them they dont need to
know more about one another. On the other end, high atop one
of the towers, a married couple tells us that when they got there
they were fascinated with the view, except for a giant, horrible
tower: another module of the Barbican, just like the one they
inhabit. The Barbican Centre is a huge area of encounters, failed
encounters, and deformed reflections. Its a human highway of
contradictions; like that feeling of belonging to an alienating
place its inhabitants have. And since were talking about science and fiction, its also a marvelous chip filled with glitches in
the matrix: like that corner where whirlpools constantly form, or
that particular nook that is impossible to photograph because of
the way sunlight hits it. DA

Ila Bka
Naci en Italia, y estudi arquitectura. En 2005 fund, junto a Louise
Lemoine, la plataforma Bka&Partners.
He was born in Italy and studied architecture. In 2005, he founded, along
with Louise Lemoine, the platform Bka&Partners.

Louise Lemoine
Naci en Francia, y se gradu en cine y filosofa en la Universidad de la
Sorbona en Pars.
She was born in France and graduated in film and philosophy from the
Sorbonne, in Paris.

236

Francia / Reino Unido - France / UK, 2014 / 90


DCP / Color / Ingls - English
D, G, E, DA: Ila Bka, Louise Lemoine F: Ila Bka
S: Louise Lemoine M: Walter Fuji, Lo Studio
P: Filippo Clericuzio PE: Marco Mona CP: Bka&Partners
Contacto / Contact
Bka&Partners. Sara Gardella
T +39 339 184 2284
E contact@bekapartners.com
W living-architectures.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

arquitectura

Voyage autour de la lune


Viaje alrededor de la luna
La ciudad de Burdeos representada a travs de un diario urbano.
Ila Bka y Louise Lemoine nos hablan acerca de la identidad de
un espacio pblico que ha cambiado profundamente en la mente colectiva de la ciudad alguna vez llamada Puerto de Luna.

The city of Bordeaux represented through an urban journal. Ila


Bka and Louise Lemoine tell us about the identity of a public
space that has gone through great change in the collective
mind of the city once known as the Port of Moon.

El lcido, emptico, ldico mtodo de Bka y Lemoine no solo funciona detrs de puertas cerradas. Cualquier espacio tocado por la
arquitectura es susceptible de ser narrado a travs de sus usuarios, a quienes la mirada del do devuelve a su estatuto primero
y principal: personas. En el renovado paseo ribereo de Burdeos
que la Unesco declar hace una dcada Patrimonio Mundial de
la Humanidad, su flamante Voyage autour de la Lune encuentra
una fauna excepcional de tribus urbanas, msicos trashumantes
y devotos de religiones estrambticas. Todos son tratados con el
mismo respeto, la misma curiosidad, la misma atencin. Y en la
intimidad construida (cmo no) por B. y L., esas historias de vida
que parecen seguir el curso caprichoso del Garona logran contar,
tambin, a toda una ciudad. Agustn Masaedo

Bka and Lemoines lucid, empathic, and playful method doesnt


work only behind close doors. Any area tapped by architecture is
susceptible of being narrated through those who use it, and the
duos perspective gives them back their original and main status: people. In the renovated boardwalk of Bordeaux declared
a World Heritage Site by Unesco a decade ago its new Voyage
autour de la Lune finds an exceptional fauna of urban tribes,
travelling musicians, and devotees of outlandish religions. They
are all treated with the same respect, curiosity, and attention.
And in the intimacy built by B and L, those life stories that seem
to follow the whimsical path of the Garona River also manage to
depict a whole city. AM

Francia - France, 2016 / 76 / DM / Color


Francs - French
D, G, E, DA: Ila Bka, Louise Lemoine F: Ila Bka
S: Louise Lemoine M: Walter Fuji, Lo Studio P: Filippo Clericuzio
PE: Filippo Clericuzio, Sara Gardella CP: Bka&Partners
Contacto / Contact
Bka&Partners. Sara Gardella
T +39 339 184 2284
E contact@bekapartners.com W living-architectures.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

237

PREMIERE LATINOAMERICANA / LATAM PREMIERE

architecture

TELOS: The Fantastic World


of Eugene Tssui
TELOS: El fantstico mundo de Eugene Tssui
Mucho antes que cualquier moda eco-friendly, un arquitecto
tan revolucionario como poco ortodoxo cuestion todos los
estndares de la arquitectura para poner el paisaje y la naturaleza en primer plano. Lee ofrece un retrato vvido de su
talento y audacia.

Long before any eco-friendly trend ever existed, an architect


who is as revolutionary as he is unorthodox questioned the
standards of architecture and placed the landscape and nature in the spotlight. Lee offers a vivid portrait of his talent
and audacity.

Gimnasta olmpico, pianista excelso, artista plstico, diseador de ropa, de joyas y hasta de la vajilla usada en su propia
boda No faltar quien defina a Eugene Tssui como un hombre renacentista. Pero la imagen que construye este retrato que
plasm su vecina californiana Kyung Lee es ms bien la de un
hombre del futuro. Tan avanzadas y rupturistas son las ideas
de Tssui sobre la arquitectura su principal campo de accin,
mal que le pese al establishment profesional que casi ninguno
de sus fabulosos proyectos, inspirados en modelos de la naturaleza como los osos de agua o los nidos de termitas, lleg
a concretarse. Su ltima fantasa arquitectnica, sin embargo,
parece haber encontrado aliados inesperados en Mount Shasta,
la pequea comunidad montaosa donde planea construirla.
Agustn Masaedo

An Olympic gymnast, sublime pianist, and plastic artist, he designs fashion, jewelry, and even the china used in his own wedding Eugene Tussi could certainly be defined as a Renaissance man. But the portrait his Californian neighbor Kyung Lee
makes of him is more like the one of a man who comes from
the future. Tssuis ideas on architecture his main field of work,
sadly for that professional establishment are so advanced and
groundbreaking that almost none of his projects inspired in
models from nature like water bears or termite nests ever got
constructed. His latest architectonic fantasy, however, appears
to have found unexpected allies at Mount Shasta, the small
mountain community where he plans to build it. AM

Kyung Lee
Nacida en Yokohama, Japn, en 1979, cuenta con una extensa trayectoria en edicin y trabajo de cmara. Establecida en Estados Unidos, se
desempe en el rea de posproduccin para la cadena Link TV y trabaj
en mltiples documentales. TELOS: The Fantastic World of Eugene Tssui
es su debut como directora.
Born in Yokohama, Japan, in 1979, she has a long career in film edition
and camera work. She moved to the US, where she worked in postproduction for Link TV and worked in several documentaries. TELOS: The
Fantastic World of Eugene Tssui is her directorial debut.

238

Estados Unidos - US, 2014 / 58


DCP / Color / Ingls - English
D, F, E, PE: Kyung Lee S: Philip Perkins M: Luke Wyland
P: Kyung Lee, George Csicsery CP: Ten By Ten I: Eugene Tssui,
Fred Stitt, Elisabeth Montgomery, Jason Monberg, Paolo Tssui
Contacto / Contact
Ten By Ten. Kyung Lee
T +1 510 652 1492
E kyung@kyunglee.com
W tenbyteninc.com ~ telosmovie.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

arquitectura

The Chinese Mayor


Datong
El alcalde chino

El alcalde chino Geng Yanbo realiza una reforma radical en


la ciudad de Datong. Su plan es demoler miles de hogares y
reubicar a medio milln de personas para dar paso a la restauracin de reliquias antiguas, con el fin de fomentar el crecimiento econmico a travs del turismo y la cultura.

Chinese mayor Geng Yanbo is making a radical reform in the


city of Datong. His plan is to demolish thousands of homes and
relocate half a million people in order to give way to the restoration of antique relics, with the goal of promoting economic
growth through tourism and culture.

Geng Yanbo asume como autoridad de una de las ciudades


ms contaminadas y superpobladas de China con un plan tan
enorme como antiptico: demoler gran parte de la ciudad de
crecimiento catico y acelerado, localizar a sus habitantes en
la periferia, refundarla reconstruyendo las viejas murallas perimetrales y sus edificios emblemticos para que recupere su
valor patrimonial, y as hacer de ella una capital cultural, que
a su vez proyecte a futuro una nueva economa. Geng Yanbo
se enfrenta, como en un fuego cruzado permanente, con las
demandas de los habitantes, las falencias de la administracin
y la voluntad del partido, a la vez que mantiene su visin de esa
otra ciudad posible como norte. Con ntima cercana, asistimos
al proceso completo de su mandato, donde la dimensin de la
ciudad toma, ante todo, escala humana. Magdalena Arau

Geng Yanbo takes office as the authority of one of the most


contaminated and overpopulated cities in China, with a plan
that is as huge as unpopular: to demolish a big portion of the
city in chaotic, accelerated growth, relocate the people in the
outskirts, and re-found it again by reconstructing the old perimeter walls and emblematic buildings, so it can get its heritage
value back, thus turning it into a cultural capital that in turn can
project a new economy in the future. As in a permanent crossed
fire, Geng Yanbo faces the demands of the locals, failed management decisions, and the will of the party, while he maintains
his vision of a different city as the main goal. With an intimate
closeness, we witness the entire process of his mandate, as the
dimensions of the city acquire a human scale. MA

Hao Zhou
Naci en China, y dirigi seis largos documentales, entre los que se
destacan The Transition Period (2010) y The Night (2014).
He was born in China, and directed six documentary features, including
The Transition Period (2010) and The Night (2014).

China / Estados Unidos - China / US, 2015 / 87


DM / Color / Chino - Chinese
D: Hao Zhou G, DA, P, PE: Qi Zhao F: Tianhui Zhang E: Tom Lin,
Xiaochuan Yu S: Jing Xiao CP: Zhaoqi Films I: Geng Yanbo, Song
Yuhua, Zheng Hui
Contacto / Contact
Zhaoqi Films. Qi Zhao
T +1 380 119 8369
E zhaoqifilms@gmail.com
W zhaoqifilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

239

PREMIERE LATINOAMERICANA / LATAM PREMIERE

architecture

The Land of Many Palaces


La tierra de muchos palacios
En Ordos, China, miles de agricultores estn siendo reubicados en otra ciudad en virtud de un plan del gobierno para modernizar la regin. El documental sigue a un funcionario cuyo
trabajo es convencer a los trabajadores de que se muden a
la ciudad.

El gobierno chino inaugura una ciudad. Casi como un prototipo,


esta se construye bajo una estricta planificacin, que incluye
tanto las distintas reas con sus modelos asignados de vivienda
como las rutinas pblicas y los modos de habitarla. Se disea
una ciudad y, en el mismo movimiento, a sus ciudadanos. El
plan incluye la relocalizacin de los campesinos que viven en las
afueras, quienes, con mayor o menor entusiasmo, entregan sus
tierras a cambio de un departamento y una serie de tutoriales
urbanos que pregonan calidad de vida para todos. The Land
of Many Palaces oscila entre el retrato biogrfico riguroso y la
contemplacin de un paisaje artificial imponente que, entre sus
atractivos, ofrece una rplica a escala de una pequea granja
como pieza de museo. Magdalena Arau

LOS Directores / the Directors


Adam Smith: Naci en Inglaterra en 1987. Tiene un mster en Documental de la Universidad de Stanford. Dirigi el corto Role Play (2012) y
dos largometrajes. Ting Song: Naci en China en 1984. Tiene un mster
en Cine de Universidad de Nueva York. Realiz el corto The Way Home
(2013), un largometraje y un documental televisivo.
Adam Smith: Born in England in 1987. He has a master in Documentary
from Stanford University . He directed the short Role Play (2012) and
two feature films.Ting Song: Born in China in 1984. He has a Masters
in Film at New York University. He made the short film The Way Home
(2013), a feature film and a television documentary.

240

In Ordos, China, thousands of farmers are being relocated in


another city due to a government plan to modernize the region.
The documentary follows a government official whose job is to
convince the workers of moving to the city.

The Chinese government is inaugurating a city. Almost like a


prototype, the place is built on a strict plan that includes both
all the different areas with assigned home units as well as their
public routines and the ways of inhabiting them. A city is designed, and its citizens too. The plan includes the relocation of
farmers living in the outskirts, who surrender their lands with
mixed levels of enthusiasm in exchange for an apartment and
a series of urban tutorials that promote quality of life for everyone. The Land of Many Places oscillates between a rigorous biographical portrait and the contemplation of a stunning artificial
landscape and its attractions, which include a scale replica of a
small farm, like a museum piece. MA

China / Reino Unido - China / UK, 2015 / 61


DCP / Color / Mandarn / Mandarin
D, F: Adam Smith, Ting Song E: Adam Smith S: Yanyi Tong
M: Rob Scales P, PE: Ting Song, Adam Smith, Qihan Wang
CP: Pulan Films I: Yuan Xiao-mei, Hao Shi-wen
Contacto / Contact
Pulan Films. Ting Song
T +86 186 0049 9079
E thelandofmanypalaces@gmail.com
W pulanfilms.com ~ thelandofmanypalaces.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

arquitectura

PREMIERE AMERICANA / AMERICAN PREMIERE

La cupola

Le Corbusier [|||||]
Asger Jorn [Relief]

El retrato de una casa sin paredes que la sostengan. Una llamativa cpula de hormign, un espacio abierto justo en medio
de las extraas formaciones rocosas de una costa escarpada
de granito rojizo. La casa perteneci a la actriz Monica Vitti y
al director Michelangelo Antonioni. Aparentemente al azar, en
la imagen surgen figuras que entran al domo y, todava hoy,
la utopa de un concepto alternativo de vida parece flotar por
encima de su silueta.
The portrait of a house without supporting walls. A bold dome
made of concrete, an open space right in the middle of the
bizarre rock formations of a rugged coast made of reddish
granite. The house belonged to actress Monica Vitti and director Michelangelo Antonioni. Seemingly at random, figures wind
up in the image and enter the dome, and even today, the utopia
of an alternative concept of living seems to float above its form.
Volker Sattel
Naci en 1970. Estudi direccin y cmara en la Academia de Cine de
Baden Wrttemberg. Actualmente vive y trabaja en Berln.
He was born in 1970. He studied filmmaking and camera at the Baden
Wrttemberg Film Academy. He currently lives and works in Berlin.
Alemania - Germany, 2016 / 40 / DCP / Color
Italiano / Alemn - Italian / German
D, G, P: Volker Sattel F: Volker Sattel, Thilo Schmidt
E: Stefanie Gaus, Volker Sattel S: Filipp Forberg, Tim Elzer
M: Tim Elzer PE: Caroline Kirberg
CP: Volker Sattel I: Minze Gaus, Francesca Bertin,
Guisepina Isetta, Severin Dold, Stephan Geene
Contacto / Contact
Volker Sattel
T +49 179 695 4709
E sattel.v@gmx.de

PREMIERE AMERICANA / AMERICAN PREMIERE

Emigholz compara la Villa Savoye, construida por Le Corbusier


en 1931, con el Grand Relief, de Asger Jorn, que el pintor y
escultor dans produjo en 1959 para el rhus Statsgymnasium. La pelcula traza conexiones entre objetos dismiles, al
menos de acuerdo con las disposiciones ideolgicas de sus
creadores. Un dilogo entre la claridad estilizada a fondo y
el salvajismo declarado, en ambos casos con ribetes ideolgicos, en palabras del director.
Emigholz contrasts the Villa Savoye, built by Le Corbusier in
1931, and Asger Jorns Grand Relief, which the Danish painter
and sculptor produced in 1959 for the rhus Statsgymnasium.
The film makes connections between what does not belong
together, at least not according to the ideological stipulations of
their creators. A dialogue between thoroughly stylized clarity
and declared wildness, both with ideologically trimmings, in
the words of the director.
Heinz Emigholz
Naci en Alemania en 1948. Se form como dibujante antes de estudiar
filosofa y literatura en Hamburgo. Comenz su carrera en el cine en
1968, y dirigi varios cortos y largos documentales como Loos Ornamental (2009) y Perret in Frankreich und Algerien (2012).
He was born in Germany in 1948. He trained as a drawing artist before
studying philosophy and literature in Hamburg. He began his film career in
1968, and directed several short and feature-length documentaries, such
as Loos Ornamental (2009) and Perret in Frankreich und Algerien (2012).
Alemania / Dinamarca - Germany / Denmark, 2016
29 / DCP / Color
D, G, P: Heinz Emigholz F, E: Heinz Emigholz, Till Beckmann
S: Till Beckmann, Jochen Jezussek, Christian Obermaier
CP: Heinz Emigholz Filmproduktion
Contacto / Contact
Filmgalerie 451. Frieder Schlaich T +49 30 3398 2800
E kino@filmgalerie451.de W filmgalerie451.de

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241

Architecture

Silence
PREMIERE MUNDIAL / WORLD PREMIERE

Este cortometraje documental intenta traducir la arquitectura


romnica del siglo XI a un lenguaje cinematogrfico.
This documentary short film is an attempt of translating 11th
century architecture into a cinematic language.
Sebastian Pasquet
Naci en 1991 en Buenos Aires, Argentina. Estudi cine documental
en la UNSAM. Realiz varios cortometrajes documentales sobre arte y
cultura. Particip de varios festivales internacionales con el documental Sobre el arroyo. Trabaj como sonidista de varios cortometrajes de
ficcin.
He was born in 1991 in Buenos Aires, Argentina. He studied documentary filmmaking at UNSAM. He directed several documentary short
about art and culture. He participated in several international festivals
with his documentary Sobre el arroyo. He worked as a sound designer
in several fiction short films.

242

Argentina / Espaa - Argentina / Spain, 2016 / 15


DM / Color / Ingls - English
D, G, F, E, S, P, PE: Sebastin Pasquet
CP: ECSA Espacio Cultural San Andrs I: Annette Gulick
Contacto / Contact
Sebastin Pasquet
T +54 9 11 3092 4804
E shpasquet@gmail.com
W sebastianpasquet.myportfolio.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

arquitectura - Karl-Heinz Klopf

Pensar en imgenes acerca de los espacios que nos


construimos para vivir parece (lo habrn notado, o lo
notarn, en esta seccin) una puerta abierta de par en
par a la experimentacin, al juego, a la libertad. Y la
obra del austraco Karl-Heinz Klopf (Linz, 1956) es la
prueba no definitiva: en construccin permanente de
ello. A Klopf lo conocimos hace algunos aos con la
pequea (por duracin y dimensiones de su sujeto) y
gigante (por todo lo dems) Tower House, y descubrir
ahora que esa era apenas la primera pelcula de una
serie dedicada a las casas particulares de arquitectos
clebres, nos llen de felicidad. No solo porque A Tropical House sea una obra maestra que lo es, sino
porque de ese descubrimiento pasamos al de la obra
previa de Klopf, dedicada ntegramente a los ambientes construidos y las esferas urbanas, como reza su
biografa. Y vimos que no hay dos de esos films que se
parezcan entre s: los hay abstractos como Studio, coloridos como By Way of Display, humanistas y pop como
They y minimalistas como Plan. Con cada pelcula, KarlHeinz Klopf parece borrar su libro de mapas y dibujarse
nuevos caminos: un cartgrafo libertario y ldico, que
ahora les toca descubrir a ustedes. Agustn Masaedo

Thinking through images about the spaces we have


built to live in seems (you may have noticed it, or you
will notice it, in this section) like a wide-open door for
experimentation, for playing, for freedom. And the work
by Austrian Karl-Heinz Klopf (Linz, 1956) is proof nondefinite: in permanent construction of that.
We knew Klopf from the small (in running-time as well
as the dimensions of its subject) and enormous (for
everything else) Tower House, and discovering that it
was merely the first film in a series devoted to the homes of celebrated architects filled us with joy. Not only
because A Tropical House is a masterpiece which it
is, but also because that discovery led us to Klopfs
previous work, fully devoted to constructed environments and urban spheres, as his biography reads. And
we saw that no two of these films resemble each other:
there are abstract ones like Studio, colorful ones like By
Way of Display, humanist and pop ones like They and
minimalist ones like Plan. With each film, Karl-Heinz
Klopf seems to erase his book of maps and draw new
paths: a libertarian, playful cartographer that is now
your turn to discover. AM

Contacto / Contact
Karl-Heinz Klopf
T +43 699 1070 1114
E khk@khklopf.at
W khklopf.at

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

243

Architecture - Karl-Heinz Klopf

Studio
Estudio
La cuenta regresiva est en marcha. La cmara se mueve a travs
de varios niveles de un marco arquitectnico, surgen simulaciones
de paredes y pasillos, una estructura hecha de lneas negras sobre
fondo blanco. Con cada nivel adicional, el trabajo de la cmara se
vuelve ms complejo y ofrece, como un videojuego, nuevas opciones y posibilidades. Cada tanto aparecen fragmentos de e-mails.
Hablan sobre ciudades y son, a la vez, huellas transmisibles de los
respectivos recorridos (laborales), del (auto)posicionamiento y de
los intercambios (en red). Rike Frank
The countdown runs. The camera moves through various levels
of an architectural framework, simulations of walls and hallways emerge, a structure made up of black lines on a white
background. With each additional level, the camera work becomes more complex and offers, like a videogame, new options and possibilities. From time to time excerpts from e-mail
messages appear. They tell about cities and are at the same
time communicable tracks of respective (work)paths, of (self)
positioning and of (network) exchanges. RF

By Way of Display

Austria, 2000 / 8 / DCP / Color & B&N


D, G: Karl-Heinz Klopf, Sigrid Kurz E: Karl-Heinz Klopf, Sigrid Kurz,
Peter Hauenschild DA: Karl-Heinz Klopf S: Karl-Heinz Klopf,
Sigrid Kurz, Wolfgang Dorninger CP: KlopfKurz Vienna

PREMIERE AMERICANA / AMERICAN PREMIERE

Por medio de la exhibicin


En Taiwn, la venta de nueces de areca levemente estimulantes cuando se las mastica dio lugar al desarrollo de una nueva clase de construccin improvisada: el puesto de nueces de
areca. Estos negocios temporales o simples unidades mviles,
atendidos por Bellezas de las Nueces de Areca que se visten
con uniformes ajustados para atraer a sus clientes, brotaron
como hongos por todo el pas. By Way of Display habla de
este fenmeno singular haciendo foco en su contexto urbano,
cultural y social.
In Taiwan, the sale of betel nuts a mild stimulant when chewed
has spawned the development of a new makeshift building type,
the betel nut stall. These temporary stores or simple mobile
units, staffed by Betel Nut Beauties who dress in tight uniforms
to attract their customers, have cropped up all over the country.
By Way of Display tells about this specific phenomenon by focusing on its urban, cultural and social contexts.

244

Austria / Taiwn - Austria / Taiwan, 2003 / 37 / DCP


Color & B&N / Chino / Ingls - Chinese / English
D, G, F, DA, P: Karl-Heinz Klopf E: Karl-Heinz Klopf, Kurt Hennrich
S: Wolfgang Dorninger M: Radio Asia FM92,7 CP: KlopfKurz Vienna
I: Herng-Dah Bih, Ti-Nan Chi, Neifei Ding, Min-Jay Kang, Cheng-Shen Lin

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

arquitectura - Karl-Heinz Klopf


PREMIERE AMERICANA / AMERICAN PREMIERE

They
Ellos
Retrato de un rea municipal en el norte de Liverpool, donde
un parque ondulado que nadie usa reemplaz lo que alguna
vez fue un barrio activo y populoso. Los vecinos del parque
pelean por la solidaridad de lo que queda de sus comunidades,
mientras buscan una nueva identidad y mejores condiciones
de vida. They aborda ese tema con precisin, y tambin desarrolla una narracin propia que lleva a un acercamiento ms
abstracto y transformador a la forma en que puede ser mirado
este paisaje.
The portrait of a municipal area in North Liverpool, where an
unused hilly park replaced what was once an active, highly
populated neighborhood. The neighborhoods around the park
fight for the solidarity of their remaining communities, and at
the same time search for a new identity and better living conditions.They precisely addresses this issue, whilst also developing its own narration which leads to a more abstract and
transformative approach to how this landscape may be viewed.

Austria / Reino Unido - Austria / UK, 2010


35 / DCP / Color / Ingls - English
D, G, F, DA, P: Karl-Heinz Klopf E: Tatia Skhirtladze
S: Atanas Tcholakov CP: KlopfKurz Vienna
I: Adam Byrne, Frank Green, Shirley Hann, Ann Roach, Jane Corbett

PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE

Plan
Con una mirada nica a la atmsfera de las oficinas de tres
arquitectos en Beijing, Plan muestra primeros planos y gestos de personas inmersas en su trabajo, en estrictas condiciones espaciales y en estrecha conexin con dispositivos
y programas. Las conferencias internas y discusiones con
clientes son observadas en detalle mientras se desarrollan
relatos en miniatura. Plan revela cmo una ciudad y su sociedad pueden ser imaginadas con solo mirar el ambiente de
un estudio de arquitectura.
A unique insight into the atmosphere of three architects offices in Beijing, Plan shows close ups of people and their gestures, immersed in their work in stringent spatial conditions
and in tight connection with devices and programs. Internal
conferences and discussions with clients are watched in detail while miniature-like narrations are developed. Plan reveals
how a city and its society can be imagined through the gaze at
the milieu of the architects office.

Austria / China, 2011 / 30 / DCP / Color


Chino / Ingls - Chinese / English
D, G, F, DA, P: Karl-Heinz Klopf E: Tatia Skhirtladze
S: Atanas Tcholakov CP: KlopfKurz Vienna

* A pedido del director, la pelcula se proyecta sin subttulos / At the directors request the film is screened without subtitles.
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Architecture - Karl-Heinz Klopf

Tower House
Casa-torre
La casa que Takamitsu Azuma construy en una parcela de
veinte metros cuadrados en 1966 fue considerada, desde el
momento de su creacin, un smbolo de la vida moderna.

The house Takamitsu Azuma built, in a 20-square-meter plot


in 1966, was considered, since the moment of its creation, a
symbol of modern life.

Tower House es una casa construida en 1966, en la ciudad de


Tokio, por Takamitsu Azuma. En apenas veinte metros cuadrados, la construccin piensa y resuelve problemas arquitectnicos
y de convivencia familiar. Est estructurada a partir de una escalera central que asciende en espiral, construida en cemento, que
le da a la casa una impresin de ligereza al tiempo que funciona
como ncleo a partir del cual todas las habitaciones se van posicionando unas sobre otras. Narrada por la hija de Azuma, quien
vivi all desde nia y fue testigo de los cambios de la casa y
de sus alrededores, Tower House describe cmo el espacio que
habitamos puede modificar nuestras vidas y costumbres; desde
encontrar el rincn perfecto para colgar los sacos hasta saber
cmo pisar los escalones para avisar que pasamos de una habitacin a otra. Leandro Listorti (Catlogo Bafici 14)

The Tower House was built by Takamitsu Azuma in the city of


Tokyo in 1966. In just twenty square meters, the construction
thinks about and resolves problems of architecture and family
cohabitation. Its structured from a central spiral cement staircase that gives an impression of lightness at the same time it
works as a core from which all the rooms are positioned on top
of one another. Narrated by Azumas daughter, who has lived
there since her childhood and witnessed the changes in the
house and its surroundings, Tower House describes how the
space we inhabit can modify our lives and customs; from finding
the perfect spot to hang the coats to knowing how to put our
foot on the steps to let people know were going from one room
to another. LL (Bafici 14 Catalogue)

Austria / Japn - Austria / Japan, 2014 / 62


DCP / Color & B&N / Japons - Japonese
D, G, F, DA, P: Karl-Heinz Klopf E: Tatia Skhirtladze S: Nils Kirchhoff
CP: KlopfKurz Vienna I: Rie Azuma

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A Tropical House
Una casa tropical
Filmada casi en su totalidad en tomas estticas y revelando,
piso tras piso, los rincones de una casa, esta es (adems de la
perfecta continuidad de Tower House) la segunda meditacin
cinematogrfica del director acerca de una arquitectura tan
especfica como cautivadora.

Almost entirely shot in still shots and revealing the corners of a


house floor by floor, this is the filmmakers second meditation
(and a perfect continuation to Tower House) about a particular
architecture, as specific as it is captivating.

La segunda pelcula de la serie iniciada por Tower House retrata


la casa que Andra Matin dise para vivir junto a su familia.
Cmo filmarla pareciera ser la pregunta que este film responde:
con la humildad de un observador que se detiene ante un objeto fascinante. La cmara adquiere su pulso mientras recorre
paulatinamente la casa y revela su estructura, el modo en que
la luz incide en ella o la imagen del agua en un da de tormenta. Ese mismo gesto atraviesa el film mientras los espacios
se reconfiguran, dndole tanta importancia a una enorme viga
de concreto como a un paraguas que puede convertirse en un
techo transportable. Si existiese algo parecido a poder habitar
un lugar a la distancia, eso describira la experiencia que nos
brinda esta pelcula. Magdalena Arau

The second film in the series started by Tower House portrays


the house Andra Matin designed to live with his family. How to
shoot it seems to be the question this film answers: with the
humility of an observer that stops in front of a fascinating object. The camera acquires its firmness while gradually walking
around the house, and reveals its structure, the way the light
impacts on it or the image of water on a stormy day. That very
gesture is present throughout the entire film, and the space reconfigure themselves, making an enormous concrete beam and
an umbrella that can transform itself into a transportable roof
equally important. If it were possible to inhabit a place remotely,
it would describe the experience this film provides us with. MA

Austria / Indonesia, 2015 / 51


DCP / Color / Javans - Javanese
D, G, F, P: Karl-Heinz Klopf E: Tanja Skhirtladze S: Nils Kirchhoff
Contacto / Contact
Sixpackfilm. Dietmar Schwarzler
T +43 1 526 0990
E dietmar@sixpackfilm.com
W sixpackfilm.com

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comer y beber
eat & drink

PREMIERE LATINOAMERICANA / LATAM PREMIERE

eat & drink

Ants on a Shrimp
Hormigas en un camarn
En enero de 2015, el Noma, reconocido como el mejor restaurante del mundo y dirigido por su carismtico cocinero Ren
Redzepi, traslada a todo su equipo de Dinamarca a Japn. Un
viaje a travs de los gustos y sabores de una de las culturas
alimentarias ms impresionantes del mundo

In January 2015, the Noma, acknowledged as the best restaurant in the world and ran by its charismatic cook Ren Redzepi,
moved all its team from Denmark to Japan. A trip through the
flavors and tastes of one of the most impressive food cultures
in the world.

Ren Redzepi y su grupo de selectos chefs se mudan a


Tokio para abrir una sucursal de Noma, el mejor restaurante del
mundo. Pero en ese designio hay una bsqueda metafsica (y
material tambin): cmo se lidia con la presin de ser el mejor
del mundo? Cmo se logra estar siempre a la altura de las
circunstancias y las expectativas? Desplegando una bsqueda
herzoguiana ms grande que la vida, liderados por un gua espiritual demente, recorriendo bosques y rincones inhspitos en
busca de ingredientes (locales) que les permitan llegar a platos
nicos. Hay padecimiento, dolor, presin y fracaso hasta dar
con un acierto. Porque lo que importa para Ren es la obsesin,
la locura, el abandono de la zona de confort: en la experiencia
vital radica el secreto de ser los mejores del mundo. Pero quiz
nadie jams sepa a qu precio. Hasta ahora. Cecilia Martnez

Ren Redzepi and his group of selected chefs move to Tokyo


and open a branch of Noma, the finest restaurant in the world.
But theres a metaphysical (and material) search in that fate:
how do you deal with the pressure of being the best in the
world? How do you get to always meet the challenge and expectations? You do it by spreading a Herzogian, larger than life
quest lead by an insane spiritual guide, across forests and distant corners, in search of (local) ingredients that allow them to
make unique dishes. Theres suffering, pain, passion and failure
before an accomplishment. Because what matters for Ren is
obsession, madness and leaving your comfort zone: the secret
for being the best in the world lies on having a vital experience.
But probably no one knows at what price. Until now. CM

Maurice Dekkers
Periodista, director y empresario residente en msterdam. Despus de
graduarse de la Royal Academy of Arts, hizo la premiada serie Keuringsdienstvan Waarde, que se convirti en uno de los programas ms populares de la televisin holandesa. Ants on a Shrimp es su primer largometraje documental.
Amsterdam-based journalist, filmmaker, and entrepreneur. After graduating from the Royal Academy of Arts, he directed the awarded series Keuringsdienstvan Waarde, which became one of the most popular shows
on Dutch TV. Ants on a Shrimp is his first feature-length documentary.

250

Holanda - Netherlands, 2015 / 88 / DCP / Color


Ingls / Japons - English / Japanese
D, G: Maurice Dekkers F: Hans Bouma E: Pelle Asselbergs
S: Jillis Schriel M: Nicolas Jaar P: Nelsje Musch-Elzinga, Dan Blazer
CP: BlazHoffski, Dahl TV I: Ren Redzepi, Lars Williams, Rosio Sanchez,
Thomas Frebel, Dan Giusti
Contacto / Contact
Fortissimo Films
T +31 206 273 215
E info@fortissimo.nl
W fortissimo.com

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comer y beber

Campo a travs. Mugaritz,


intuyendo un camino
Off Road. Mugaritz, Feeling a Way
Pep Gatell nos acerca al universo de Mugaritz, uno de los diez
mejores restaurantes del mundo. A travs de sus pensamientos
y comentarios, el equipo de profesionales culinarios comparte su
inspiracin, su trabajo y su esfuerzo por alcanzar la excelencia.

Pep Gatell draws us close to the world of Mugaritz, one of the


ten best restaurants in the world. Through their thoughts and
comments, these cooking professionals share their influences,
their work and their efforts to achieve excellence.

Una flor, otra flor, un maestro, deca la cancin, y un poco as


es Campo a travs. Pep Gatell llena este documental de planos
detalle y cerrados para, partiendo desde lo ms pequeo, dar
cuenta de la dimensin infinita que pueden tener los grandes
proyectos. Flores, hojas, esponjas, llamas, corchos, bocas, instrumentos y texturas de todo tipo se suceden ante nuestros ojos
mientras los trabajadores del restaurante Mugaritz, de todo rango y especializacin, cuentan en off la experiencia trascendental
que es llevar a cabo todos los das una maquinaria semejante.
Una causa, un efecto, continuaba la cancin, y detrs de cada
pequeo detalle, filmado con minucia, se esconde el secreto
del xito de los delirios posibles: el trabajo, ese material del que
estn hechos los sueos. Daniel Alaniz

One flower, another flower, a master, said the song, and Campo
a travs is kind of like that. Pep Gatell fills up this documentary
with detailed and closed shots, starting from small elements
to express the infinite dimension that can exist in big projects.
Flowers, leafs, sponges, flames, corks, mouths, instruments,
and all kinds of textures parade in front of our eyes, while the
voice over of the workers from the Mugaritz restaurant from
every rank and area tell us about the transcendental experience of making such machinery work every day. One cause,
one effect, said the song, and behind every thoroughly filmed
detail theres the secret of success of every possible delirium:
work, that material which dreams are made of. DA

Pep Gatell

Espaa - Spain, 2015 / 65 / DCP / Color / Espaol - Spanish

Naci en Espaa en 1958. Desde 1980, es uno de los directores artsticos de la prestigiosa compaa catalana de teatro La Fura dels Baus.
Dirigi los cortometrajes Macaron de caza (2012) y TABA (2013).
He was born in Spain in 1958. Since 1980, he is one of the artistic
directors of the prestigious Catalonian theater company La Fura dels
Baus. He has directed the shorts Macaron de caza (2012) and TABA:
The Table Game (2013).

D: Pep Gatell G: Andoni Luis Aduriz, Pep Gatell F: Pol Aregall


E: Sara Lpez DA: Nadala Fernndez S: Josep Vilagut, Miquel Mestres
M: lex Ferrer PE: Irene Aldareguia, Francisco Javier Allende Arias,
Andrs Luque, Nadala Fernndez CP: IXO Producciones,
La Fura dels Baus, Euskaltel, Radio Televisin Espaola
I: Andoni Luis Aduriz, Ramon Peris, Eli Iglesias, Javier Vergara Forcada
Contacto / Contact
Feelsales. Mara Gonzlez
T +34 915 903 920 E mariagonzalez@feelsales.com
W feelsales.com ~ campoatravesfilm.com

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eat & drink

Carne propia
Bullseye
Un viejo toro campen emprende el ltimo viaje de su vida,
desde la pampa hmeda hacia su ltimo destino: el matadero.
En su viaje en camin por las llanuras, la voz de su pensamiento recuerda las ms extraas historias sobre la carne argentina y la influencia que ejerce sobre nosotros.

An old champion bull goes on to its last journey from the


humid pampas to its last destination: the slaughterhouse.
On its trip through the planes, its thoughts remind us of the
strangest stories about Argentine beef and the influence it
has on us.

Que est cada vez ms cara, que ya no se come tanta, que la


mejor se exporta, que si es buena o mala para la salud Todos
tenemos algo para opinar sobre ella porque, como saba una
vieja serie de TV, los argentinos de carne somos. Pero algunos
lo son ms que otros, y justamente a esos, a los que estn del
otro lado del mostrador (de la carnicera), nunca los escuchamos. Hasta ahora: este documental le da voz una voz de recio
galn latino a un toro campen en su viaje final, para que
evoque a su paso relatos tan curiosos como reveladores sobre
el lugar que ocupa la carne por estas pampas. O los lugares:
de la Rural al monumento a la lata de corned beef, y de Berisso
a un frigorfico recuperado, Carne propia traza, con agudeza
y humor, el mapa posible de una autntica pasin nacional.
Agustn Masaedo

Its getting more expensive; people are not eating that much of
it these days; the finest one gets exported; its either good or
bad for your healthWe all have an opinion about it, because,
as one famous TV show said, Argentines are made of beef. But
some are more than others, and we never get to hear them, the
ones standing on the other side of the butchers shop counter. Until now: this documentary provides a voice a Latin stud
voice to a champion bull on its last journey, so he can evoke
stories that are both curious and revealing about the place of
beef has in these pampas or places: from the Rural Society
to the corned beef monument and from Berisso to an employeerun meatpacking, Bullseye draws a sharp and humorous map of
a true national passion. AM

Alberto Romero
Fue coguionista del documental Pichuco (2014) y de Quin mat a
Mariano Ferreyra? (2013).
He co-wrote the documentary Pichuco (2014) and Quin mat a Mariano Ferreyra? (2013).

252

Argentina, 2016 / 70 / DM / Color / Espaol - Spanish


D, G, P: Alberto Romero F: Martn Turnes E: Juan Martn Hsu
S: Pablo Crdoba M: Tito Romero PE: Luca Miranda
CP: Puente Films I: Arnaldo Andr
Contacto / Contact
Puente Films. Alberto Romero
T +54 9 11 5829 6967
E info@puentefilms.com.ar
W puentefilms.com.ar ~ facebook.com/CarnePropiaFilm

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Foto / Photo: Edward Gray

comer y beber

In Defense of Food
En defensa de la comida
Basado en el bestseller homnimo del periodista Michael Pollan, este documental explora cmo la dieta moderna puede
ser perjudicial, y cmo se crea una confusin acerca de lo que
es saludable y lo que no.

Based on the bestseller of the same title by journalist Michael


Pollan, this documentary explores how modern diet can be
damaging, and how there is a confusion between what is
healthy and whats not.

Si no conocen a Michael Pollan, ya es hora de hacerlo. Y si ya


lo conocen por sus publicaciones, ahora pueden verlo en este
documental que se hace a partir de su libro En defensa de la
comida (In Defense of Food). Y que se enriquece con el conocimiento y la posterior carrera (exitosa) de Pollan, que ha seguido
escribiendo best sellers centrados en la comida, en comer, en
cocinar. Por qu todas estas maravillas necesitan defensa? Si
no lo saben deberan ver esta pelcula cargada de informacin
fundamental, de datos que asombran, de alertas urgentes. Si ya
lo saben, y ya leyeron frases de Pollan como evita productos
con ganchos como light, descremado o bajo en grasas, evita alimentos que veas anunciados en televisin o si se llama
igual en todos los idiomas, no es comida, tambin saben por
qu tienen que ver esta pelcula. Javier Porta Fouz

If you dont know Michael Pollan, its time you do. And if you
already know him from his publications, you can now see him
in this documentary based on his book In Defense of Food. The
film nurtures itself from the knowledge and (successful) career
of Pollan, who kept writing bestsellers about food, eating, and
cooking. Why do all these marvelous things need a defense?
If you dont know, you should see this film, which is heavy on
fundamental information, amazing data, and urgent alerts. If you
do know and you already read phrases like avoid any food with
hooks like light, non-fat, or low-fat, avoid any food you see
advertised on TV, or if its called the same in every language,
its not food, then you know why you have to see this film. JPF

Michael Schwarz
Realiz varios largos documentales, entre los que se destacan The
Bodys Secret Army (2011) y The War on Microbes (2012).
He directed several documentary films including The Bodys Secret Army
(2011) and The War on Microbes (2012).

Estados Unidos - US, 2015 / 78


DM / Color / Ingls - English
D: Michael Schwarz G: Edward Gray F: Vicente Franco
E: Rhonda Collins, Gail Huddleson S: Ray Day M: Christopher Hedge
P: Michael Schwarz, Edward Gray PE: Kiki Kapany CP: Kikim Media
I: Michael Pollan
Contacto / Contact
Kikim Media. Michael Schwarz
T +1 650 617 0550
E mschwarz@kikim.com
W kikim.com ~ pbs.org/indefenseoffood

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eat & drink

Kampai! For the Love of Sake


Kampai! Por amor al sake
Un fabricante britnico de sake, un periodista estadounidense y
el joven presidente de una destilera en Japn se unen para explorar el misterioso mundo del vino de arroz japons y su historia.

A British sake manufacturer, an American journalist, and the


young president of a distillery in Japan gather to explore the
mysterious world of Japanese rice wine and its history.

Es complicada esa cuestin de encontrar algo que d sentido a


la propia vida, algo que no todos logran ni identificar. Qu tienen en comn un periodista, un profesor de ingls y el dueo de
una destilera? La pasin, la determinacin, el haber dedicado la
vida a algo, el haber renacido al encontrar un propsito que los
remueva de la angustia del vaco existencial. Ellos lo encuentran
a su manera, convirtindose en especialistas del sake, la bebida tradicional de Japn. Pero son algo ms que conocedores:
se trata de evangelistas de la bebida a base de arroz, ya que
van esparciendo la palabra sagrada y ganando adeptos como
en una verdadera cruzada. Porque entienden que el sake no
es solo una bebida: es una forma de existir, de vincularse con
otros; es ritual, comunin, trabajo y pasin. Y la vida se les va
en eso. Cecilia Martnez

Finding a meaning to ones life is complicated. Its something


not everyone succeeds in identifying. What do a journalist, an
English teacher, and the owner of a distillery have in common?
A passion, a determination having devoted their lives to something, having been born again by finding a purpose that removes
them from the existential vacuum. They find it their own way,
turning into experts in sake, Japans traditional drink. But they
are something more than connoisseurs: they are evangelists of
the rice-based drink, and go around spreading the holy word
and gaining devotees as though it were a true crusade. Because
they understand that sake is not just a drink: its a way of existing, of relating with others; its ritual, communion, work and
passion. And their lives revolve around it. CM

Mirai Konishi
Creci en Japn, y se form en la Universidad de Carolina del Sur (USC).
Dirigi un cortometraje, y actualmente escribe sobre cine en las publicaciones japonesas Roadshow y Cut.
He grew up in Japan and trained at the University of Southern California
(USC). He directed a short film, and currently writes about film in the
Japanese publications Roadshow and Cut.

254

EU -USA / Japn - Japan, 2015 / 95 / DCP / Color


Ingls / Japons - English / Japanese
D, G, E: Mirai Konishi F: Masami Inomoto, Mirai Konishi
M: Stephen Viens I: Philip Harper, John Gauntner, Kosuke Kuji
Contacto / Contact
Fortissimo Films
T +31 206 273 215
E info@fortissimo.nl
W fortissimo.nl

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PREMIERE LATINOAMERICANA / LATAM PREMIERE

comer y beber

LADN du ceviche
The Ceviche DNA
El ADN del ceviche
Recorriendo la costa norte del Per, Amazonia y Lima, este
documental explora los aspectos histricos y sociopolticos
en torno al ceviche, un plato consumido en Per desde la
poca precolombina.

This documentary goes through the northern shore of Peru,


Amazonia, and Lima, and explores the historical and sociopolitical aspects of ceviche, a dish from Peru that dates back to
pre-Columbian times.

Un plato-marca para un pas que logr hacer de su gastronoma


un valor y un destino cultural y turstico. Un boom que alcanza
a los restaurantes y a la produccin de alimentos, desde los
arquitectos que disean los ambientes hasta los pescadores artesanales, adems de Gastn Acurio, el ms famoso promotor
y casi un poltico en campaa permanente por la comida. El
ceviche como comida popular en la calle. Su historia. Su preparacin, contada y mostrada en cmara con una sencillez que
exhibe en pocos minutos todo el conocimiento de generaciones
puesto en este plato. Este film es una exploracin ambiciosa y
rtmica, que recorre el Per para buscar, preguntar y mostrar.
Uno de los mejores sentidos de los ms soleados, de los ms
sabrosos que se le pueden dar al trmino documental de investigacin. Javier Porta Fouz

A trademark dish for a country that managed to turn its gastronomy into something of value and a cultural and touristic
destination. Its a trend that stretches to restaurants and food
production, from architects designing places and small fishermen to Gastn Acurio, its most famous promoter, almost a politician in a permanent campaign for food. Ceviche as a popular
street meal. Its history. Its preparation explained and showed in
camera in a simple manner that in just a few minutes expresses
the knowledge of generations transmitted into this dish. This
film is an ambitious and rhythmic exploration that goes through
Peru seeking, asking, and showing. One of the finest sunniest, tastiest meanings you can provide to the term research
documentary. JPF

Orlando Arriagada

Canad / Per - Canada / Peru, 2015 / 85


DCP / Color / Espaol - Spanish

Naci en Chile y se nacionaliz canadiense. En 2007 fund la productora


Pimiento, y ha dirigido varios largometrajes, como Derrire le miracle
(2011) y Miss Inc. (2013).
He was born in Chile, and became a Canadian citizen. In 2007 he founded the production company Pimiento, and directed several films, including Derrire le miracle (2011) and Miss Inc. (2013).

D, M: Orlando Arriagada G: Louis-Franois Grenier F: Franois LgerSavard E: Guillermo Lpez Prez DA: Alain Fournier S: Nestor Andrs
Vlez Ruiz M: Orlando Macedo Conceio P: Orlando Arriagada
PE: Dominique Sguin CP: Productions Pimiento Inc. I: Santiago Uceda
Castilo, Bernardo Roca Rey, Gastn Acurio, Javier Wong, Susana Baca
Contacto / Contact
Productions Pimiento. Isabel Jimnez
T +1 514 662 5281
E isabel@pimiento.ca W pimiento.ca ~ adnceviche.tv

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Sagardoa bidegile - Historias de sidra


Cider Stories
Cuatro meses al ao, las sidreras vascas atraen a miles de
comensales, locales y forneos. Todos esperan cumplir con la
tradicin: degustar un men a base de tortilla, bacalao, chuleta
y queso, y beber sidra al grito de txotx!.

Four months a year, the Basque cider bars attract thousands


of people, both local and foreign. Everyone waits to fulfill the
tradition: enjoying a menu of Spanish omelette, cod, chop and
cheese, and drinking cider to the cry of txotx!.

Hay pelculas que cumplen un rol especial dentro de un festival de cine, y son particularmente tiles para aquellos que nos
internamos en sus salas durante das enteros. Breves y distendidas, son pequeos recreos entre las numerosas funciones de
la vida festivalera. Sagardoa bidegile - Historias de sidra es una
de estas pelculas. El documental de Bego Zubia Gallastegi se
interna en el mundo de las sidreras vascas en su perodo de
mayor actividad para ofrecer un recorrido exhaustivo de todos
sus procesos, de los clsicos a los modernos. Lejos de limitarse
a la mera observacin y descripcin, el film emprende un viaje
que explora cmo la gastronoma puede exceder la alimentacin y pasar a relacionarse intrnsecamente con un pueblo y
moldear su mismsima identidad. Emiliano Andrs Cappiello

There are films that play a special role within a film festival, and
are particularly useful for those of us who confine ourselves in
its theaters for full days. Brief and relaxed, they are small breaks
among the many shows of festival life. Cider Stories is one of
these films. Bego Zubia Gallastegis documentary penetrates
the world of Basque cider bars in their most active period in order to offer a thorough journey through all of its processes, from
the classic to the modern. Far from limiting itself to merely observing and describing, the film embarks on a trip that explores
how gastronomy can transcend food and end up relating intrinsically to a town to the point of molding its own identity. EAC

Bego Zubia Gallastegi


Ha desarrollado gran parte de su carrera como periodista en prensa
escrita y televisin. Actualmente es directora del programa de divulgacin cientfica Teknopolis (Elhuyar-ETB), y dirigi varios mediometrajes
documentales para televisin, como Viaje a la prehistoria (2013) y Tras
el hierro antiguo (2014).
She has made a career as a press and television journalist. She currently
directs the scientific dissemination program Teknopolis (Elhuyar-ETB),
and has directed many mid-length documentaries for television, such as
Viaje a la prehistoria (2013) and Tras el hierro antiguo (2014).

256

Espaa - Spain, 2015 / 65 / DM / Color


Euskara - Espaol / Euskara - Spanish
D, G: Bego Zubia Gallastegi F: Juantxo Sardn E: Asier Pujol
DA: Juantxo Sardn, Bego Zubia Gallastegi S: Lolo Ruiz
M: Igor Arroyo P, PE: Manex Urruzola CP: Elhuyar, Pixel
Contacto / Contact
Elhuyar, Pixel. Manex Urruzola
T +34 688 825 876
E m.urruzola@elhuyar.com
W elhuyar.eus ~ sagardoabidegile.eus

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE AMERICANA / AMERICAN PREMIERE

comer y beber

Snacks, bocados de una revolucin


Snacks, Bites of a Revolution
Grandes figuras de la vanguardia culinaria espaola recuerdan
cmo fueron capaces de contagiarle al mundo su pasin por
reinventar la cocina desde la absoluta libertad y crear un nuevo lenguaje que ahora se habla en todos lados.

Big names of the Spanish food vanguard remember how they


were able to spread throughout the world their passion for reinventing cooking with absolute freedom and creating a new
language that is now spoken worldwide.

Este es un documental acerca del poder arrollador de la pasin.


Una que se construye entre una generacin y la otra, de esas
que se exponen a la crtica y al ridculo. Servir una espuma fue
un acto de bravura y hoy se encuentra en los podios de la genialidad culinaria. Narrada en primera persona, Snacks, bocados
de una revolucin va en busca de ese rbol genealgico que
sostuvo un cambio en el paladar espaol y, desde all, se extendi hacia el mundo. Un grupo (de incomprendidos) relev la
antorcha de la nouvelle cuisine, que luego pasara a manos ms
jvenes y luego a otras mucho ms juveniles an. El concepto,
la idea y la vanguardia convertidos en platos reveladores hicieron temblar los conceptos de artesano y artista como pocas
veces haba sucedido, cuchillo y tenedor en mano. Sol Santoro

This is a documentary about the overwhelming power of passion. One that is built between one generation and the next,
and is exposed to criticism and ridicule. Serving foam was an
act of bravery, and its now in the podiums of culinary genius.
Narrated in the first person, Snacks, Bites of a Revolution goes
out in search of that family tree that made a change in Spanish
palates and then extended worldwide. A group (of unappreciated people) passed on the torch of the nouvelle cuisine, which
would in turn be passed to younger hands and then to even
younger ones. Avant-garde ideas and concepts turned into revealing dishes that shook the concepts of craftsman and artist
as few times before, knife and fork in hand. SS

los directores / the Directors


Vernica Escuer: naci en Espaa y cre el festival Film & Cook.
Cristina Jolonch: naci en Espaa, y trabaja como periodista
gastronmica en La Vanguardia.
Vernica Escuer was born in Spain and created the festival Film & Cook.
Cristina Jolonch: was born in Spain and works as a food journalist in
La Vanguardia.

Espaa - Spain, 2015 / 48 / DCP / Color


Espaol / Spanish - Ingls / English
D, G: Vernica Escuer, Cristina Jolonch F: Marc Gonzlez
E: Montse Povea, Arturo Bastn P, PE: Vernica Escuer
CP: Implementia Films I: Grant Achatz, Gastn Acurio, Albert Adri,
Ferran Adri, Andoni Luis Aduriz
Contacto / Contact
Implementia Films. Vernica Escuer
E veronica@snacksfilm.com
W implementia.es ~ snacksfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

257

Hacerse grande
Coming of age

PREMIERE LATINOAMERICANA / LATAM PREMIERE

Coming of Age

Bang Gang
(Une histoire damour moderne)
Bang Gang (A Modern Love Story)
Bang Gang (Una historia de amor moderna)
George, una chica de 16 aos, se enamora de Alex. Para llamar
su atencin crea un juego en el que todo el instituto va a descubrir, probar y explorar los lmites de su sexualidad.

George, una chica de 16 aos, se enamora de Alex. Para llamar


su atencin crea un juego en el que todo el instituto va a descubrir, probar y explorar los lmites de su sexualidad.

La mayora de los dramas sexuales estadounidenses sobre la


adolescencia tienen un solo propsito, y es el de intentar que los
padres teman por las almas mortales de sus hijos. Estas pelculas suelen tomar uno de estos dos caminos: ser oscuras y hacer
que la adolescencia parezca una fuerza destructora imparable o
brindar una salida de todo este caos profano a travs del amor.
Bang Gang ofrece otra posibilidad. Ostensiblemente centrada
en orgas adolescentes y hedonismo gratuito, no muestra escndalos traumticos ni ataques de ira por parte de los padres.
En cambio, muestra cmo el sexo y el deseo pueden llevar a los
jvenes a conocer ms y desarrollar un afecto mutuo genuino.
La pelcula se centra en el mismo momento que la mayora de
los dramas sexuales adolescentes: aquel en que estos jvenes
logran ver todo el poder de su imaginacin ertica antes de ser
capaces de canalizarla. Piers Marchant

Most American teen sex dramas serve a singular purpose, and


that is to make parents terrified for their childrens mortal souls.
These films generally go one of two ways: theyre bleak and
make adolescence seem an unstoppable destructive force, or
they offer a way out of such unholy chaos through love. Bang
Gang offers another possibility. Ostensibly focused of teen
orgies and wanton hedonism, it does not present shocking
scandal and parental meltdowns, but instead reveals how sex
and desire can lead to childrens evolving wisdom and genuine
mutual affection. The film draws our attention to the same moment most teen sex dramas do, when adolescents come to see
the full power of their erotic imaginations before being able to
channel it. PM

Eva Husson
Naci y se cri en Francia, donde recibi su mster en Literatura Inglesa
en La Sorbona. Luego estudi en el American Film Institute, y dirigi el
corto Hope to Die (2004).
She was born and raised in France, where she received her Masters
Degree in English Literature at La Sorbonne. She then studied at the
American Film Institute, and directed the short Hope to Die (2004).

260

Francia - France, 2015 / 98 / DCP / Color / Francs - French


D, G: Eva Husson F: Mattias Troelstrup E: Emilie Orsini
DA: David Bersanetti S: Morgan Kibby M: White Sea
P, PE: Didar Domehri, Laurent Baudens, Gal Nouaille
CP: Full House I: Finnegan Oldfield, Marilyn Lima,
Daisy Broom, Lorenzo Lefebvre, Fred Hotier
Contacto / Contact
Films Distribution. Laura Nacher
T +33 153 103 399
E nach@filmsdistribution.com
W filmsdistribution.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE


Foto / Photo: Stefan Berg

hacerse grande

Becoming Zlatan
Den unge Zlatan
Convirtindose en Zlatan
Los aos decisivos del futbolista sueco que juega como delantero en el Paris Saint-Germain, desde su debut en el Malm
hasta sus conflictos con el Ajax y su paso por la Juventus.

The decisive years of the Swedish soccer star who plays forward for the Paris Saint-Germain, from his debut in Malm to
his conflicts in Ajax and his time in Juventus.

Zlatan Ibrahimovi sorprende una vez ms, esta vez como


retratado en un documental de narrativa y propsito claros:
contar cmo fue que un adolescente de Malm, Suecia, pas
a los grandes clubes de Europa y se convirti en estrella global;
los das en su primer equipo, su venta y su carrera en el Ajax.
Aos agitados: sus dificultades de adaptacin, su confianza, su
arrogancia, su notoria conflictividad. Y su talento futbolstico inaudito, difcil de creer en un jugador de su porte. Cada etapa
que muestra este documental llamarlo atractivo es pecar de
frialdad se documenta con un archivo riqusimo (que nos ofrece
incluso al adolescente Zlatan jugando a la Play con su novia de
ese entonces con cara de fastidio), entrevistas a los defensores
que entraron en guerra con el delantero y, claro, jugadas y goles
esplendorosos en pantalla grande. Javier Porta Fouz

Zlatan Ibrahimovi surprise us once again, this time as the object of a documentary with a precise narrative and goal: portraying the story of how a teenager from Malm, Sweden, jumped to
the finest teams in Europe and became a global star, including
his early days, his transfer, and his career at the Ajax. Troubled
years: the hard time adapting, his trust, his arrogance, his famous conflictive nature. And his unique soccer talent, which is
hard to believe in a player his size. Each stage presented in this
documentary calling it attractive would be a gross understatement is documented with plenty of archive material (which
even includes Zlatan as a teenager, playing Play Station while
his girlfriend puts up a face), interviews with the defense players
who clashed against this forward, and of course, amazing plays
and goals on a big screen. JPF

los Directores / the Directors


Fredrik Gertten naci en Suecia en 1956. Trabaj como periodista, public el libro de viajes Young Man Looking for the World (1995) y produjo
documentales y programas de entretenimiento para televisin. Magnus
Gertten naci en Suecia en 1953, y estudi periodismo. Codirector de
la productora Auto Images, realiz varios documentales, entre los que se
encuentran Rolling Like a Stone (2005) y Hoppets Hamn (2012; Bafici 15).
Fredrik Gertten was born in Sweden in 1956. He worked as a journalist,
published the travel book Young Man Looking for the World (1995), and
produced documentaries and entertainment TV shows. Magnus Gertten
was born in Sweden in 1953, and studied journalism. A co-director at the
production company Auto Images, he directed several documentaries,
including Rolling Like a Stone (2005) and Hoppets Hamn (2012; Bafici 15).

Suecia / Holanda / Italia - Sweden / Netherlands / Italy, 2015


95 / DCP / Color / Sueco / Holands / Ingls / Italiano
Swedish / Dutch / English / Italian
D: Fredrik Gertten, Magnus Gertten F: Jon Rudberg, Caroline
Troedsson E: Jesper Osmund S: Marcel De Hoogd, Davide Favargiotti
M: Florencia Di Concilio, Marc Lizier P: Margarete Jangrd,
Lennart Strm CP: Auto Images AB, WG Film I: Zlatan Ibrahimovic,
Leo Beenhakker, Fabio Capello
Contacto / Contact
Swedish Film Institute. Sara Rster
T +46 8665 1141 E sara.ruster@sfi.se W sfi.se

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

261

Coming of Age

Das de Cleo
Days of Cleo
Cleo vive con su perra Esperanza y habita un universo aptico cuya calma se ver progresivamente interrumpida por una
serie de encuentros familiares, amorosos, siempre inesperados que irn desintegrando el limbo en el que se encuentra.

Cleo lives with her dog Esperanza and inhabits an apathetic


universe whose calm will become progressively disturbed by
a series of encounters of family, of love, always unexpected
that will start to disintegrate the limbo shes in.

Nada parece ir del todo bien en la vida de Cleo. Ni su trabajo


ni su entorno le ofrecen algo ms que una rutina anodina. Sus
amigas se preocupan, pero los intentos por distraerla no hacen
ms que empeorar las cosas. Un posible novio, alguna salida
Todo fracasa sin siquiera despertar su inters. Evidentemente
las cosas estn mal, y por algo debe ser. Esto le repiten con tal
insistencia que se termina instalando en su cabeza con fuerza
obsesiva, hasta que una inexplicable aparicin callejera parece
dar la clave para resolver el misterio y despejar las nubes que
cubren su casa. Entonces, presa de la sugestin, Cleo se pone
en marcha. Entre rituales esotricos y pequeas revanchas liberadoras, buscar restablecer el equilibrio perdido, aquel que
pueda devolverles el encanto a sus das. Magdalena Arau

Nothing in Cleos life seems to go down right. Neither her job nor
the people around her offer anything better than a dull routine.
Her friends are worried, but their attempts at distracting her only
make things worse. A potential boyfriend, a night out everything fails and doesnt even catch her interest. Clearly, things
are bad, and there must be a reason for it. This is what people
tell her with such insistence that the notion gets into her head
with an obsessive force, until an inexplicable street apparition
seems to provide the key that will solve the mystery and clear
out the clouds that cover her home. A prisoner of suggestion,
Cleo then sets herself in motion. Through esoteric rituals and
small liberating paybacks, she will try to re-establish her lost
balance, one that can put a smile back on her days. MA

Mara Elvira Reymond

Chile, 2015 / 77 / DCP / Color / Espaol - Spanish

Es licenciada en Letras Hispnicas en la Universidad Catlica de Chile,


estudia guion y direccin cinematogrfica en Barcelona. Dirigi los cortos
Lluvia (2012), Val Pars Oh (2014) y Las fuerzas fsicas de la mente (2015).
She has a bachelors degree in Hispanic Letters from Chiles Catholic
University, and studies screenwriting and filmmaking in Barcelona. She
directed the shorts Lluvia (2012), Val Pars Oh (2014) and Las fuerzas
fsicas de la mente (2015).

262

D, G, E, P, PE: Mara Elvira Reymond F: Carlos Wong


DA: Josefina Labn S: Sonamos M: Carlos Cohl
CP: Caballito Blanco, Sonamos I: Natalia Ramrez,
Paloma Ms, Pedro Fontaine, Edmundo Arrocet, Jonathan Prado
Contacto / Contact
Caballito Blanco. Mara Elvira Reymond
T +56 975 833 739
E info@caballitoblanco.com
W caballitoblanco.com ~ diasdecleo.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

hacerse grande

God Bless the Child


Dios bendiga al nio
Una mirada sobre la vida de un quinteto de nios durante
la tarde en la que su madre se marcha de la casa. Esa
ausencia funciona como un vehculo para crear un mundo
aparentemente inconsciente de fantasa y aventuras con el
humor, la ternura y la alegra de la infancia.

En una casa modesta, librados a su suerte, cuatro nios pequeos pasan el da bajo el cuidado de su hermana mayor. Una
excursin por los alrededores, corridas por un parque, sesiones
de karaoke y lucha libre, llantos, gritos, helados, trepadas a los
techos y agua a manguerazos. God bless the child thats got
his own, cantaba Billie Holiday, y en esa afirmacin pareciera
construirse esta pelcula, que moldea el mundo a su medida.
Venciendo cualquier desamparo, ahuyentando todo peligro y
con la libertad formal de poder correrlos a la par, la pelcula
expulsa a los adultos para ganar en su terreno pura autonoma;
cada experiencia es aventura y las posibilidades parecen infinitas. Un elogio a la infancia salvaje, filmada a un metro de altura.
Magdalena Arau

A look into the life of five children in the afternoom their mother
leaves home. This absence works as a vehicle to create a
seemingly unconscious universe of fantasy and adventure, with
the humor, tenderness, and joy of childhood.

In a modest house, and left to their own devices, four small


children spend the day under the care of their older sister. An
excursion through their surroundings, running in a park, karaoke
sessions and wrestling, crying, yelling, ice-creams, some roofclimbing, and water through a hose. God bless the child thats
got his own, sang Billie Holiday, and the film seems to be built
upon that statement, as it shapes the world to their measure.
Beating any kind of neglect, chasing away any kind of danger
an with enough freedom in its form to run along with them, the
film does away with adults in order to gain some pure autonomy,
where every experience is an adventure and the possibilities
seem endless. A celebration of wild childhood shot one meter
from the floor. MA

Robert Machoian
Naci en California, Estados Unidos. Dirigi Waiting Room (2010), By the
Sea y Forty Years from Yesterday (ambas 2013), entre otras.
He was born in California, USA. He directed Waiting Room (2010), By the
Sea and Forty Years from Yesterday (both 2013), among others.

Rodrigo Ojeda-Beck
Naci en California, Estados Unidos. Realiz varios cortos y codirigi,
junto a Robert Machoian, el largo Forty Years from Yesterday (2013).
He was born in California, USA. He directed several short films and
co-directed the feature Forty Years from Yesterday (2013) with Robert
Machoian.

Estados Unidos - US, 2015 / 94


DCP / Color / Ingls - English
D: Robert Machoian, Rodrigo Ojeda-Beck
G: Robert Machoian, Rebecca Graham F, DA: Robert Machoian
E, S: Rodrigo Ojeda Beck P: Laura Heberton, Robert Thomas
CP: 433 Pictures, Hot Metal Films, 3Rs I: Harper Graham,
Elias Graham, Arri Graham, Ezra Graham, Jonah Graham
Contacto / Contact
Hot Metal Films. Laura Heberton
T +1 917 628 9476 E lheberton@gmail.com
W hotmetalfilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

263

Coming of Age

Mate-me por favor


Kill Me Please
Matame, por favor
Una ola de asesinatos invade Barra de Tijuca, al oeste de Ro
de Janeiro. Lo que comienza como una curiosidad mrbida se
apodera lentamente de los jvenes de la zona, entre ellos, Bia,
una adolescente en pleno despertar sexual.

A wave of murders invades Barra de Tijuca, west of Rio de Janeiro. What begins as a morbid curiosity will slowly take over
the young people living in the area, including Bia, a teenager in
the midst of her sexual awakening.

Barra de Tijuca. Un grupo de chicas adolescentes, llenas de


inquietudes propias de su edad, se ve afectado por una ola de
ataques y asesinatos a jvenes mujeres en la zona. Ellas son
Bia, Mariana, Michele y Renata, y parecen, por un lado, aburridas del tedio de la vida burguesa y, por otro, fascinadas con
la idea de la muerte, la de otras que podran ser ellas mismas.
Tal como se preanunciaba en sus cortometrajes, la pera prima
de esta joven realizadora carioca pone de manifiesto un gran
manejo del lenguaje audiovisual, as como un profundo conocimiento del gnero, para dar forma a un film complejo y de gran
libertad a la hora de utilizar los recursos: desde los ms pop
para retratar el mundo teen de las chicas, hasta los que remiten
al cine de terror para dar cuenta de los efectos psicolgicos que
estos asesinatos tienen en ellas. Violeta Bava

Barra de Tijuca. A group of teenage girls with the typical insecurities of that age is affected by a wave of attacks and murders of
young women in the area. They are Bia, Mariana, Michele, and
Renata, and they seem bored with the tedium of bourgeois life,
and fascinated with the notion of death, the death of others who
could also be them. Just as her short films preannounced, the
first film by this young filmmaker from Rio de Janeiro features a
great management of audiovisual language, as well as a profound
knowledge of genre, and shapes up a complex and liberating film
by using resources that range from pop in her portrait of the
girls teen universe to horror, in order to express the psychological effects of these murders on them. VB

Anita Rocha Da Silveira


Se gradu en 2008 en la Universidad Pontfice Catlica de Ro de Janeiro. En los ltimos aos, ha trabajado como asistente de direccin, docente y guionista. Escribi, edit y dirigi los cortometrajes O vampiro do
meio-dia (2008), Handebol (2010) y Os Mortos-vivos (2012).
She majored in 2008 at the Universidad Pontfice Catlica in Rio
de Janeiro. In recent years, she has worked as an assistant director, a professor and scriptwriter. She wrote, edited and directed the
short films O vampiro do meio-dia (2008), Handebol (2010) and Os
Mortos-vivos (2012).

264

Brasil / Argentina - Brazil / Argentina, 2015


104 / DCP / Color / Portugus - Portuguese
D, G: Anita Rocha da Silveira F: Joo Atala E: Marilia Moraes
DA: Dina Salm Levy S: Manuel de Andrs M: Bernardo Uzeda
P: Vania Catani PE: Vania Catani, Lili Nogueira CP: Bananeira Filmes,
Rei Cine I: Valentina Herszage, Mari Oliveira, Julia Roliz, Dora Friend,
Carol Baptista
Contacto / Contact
Bananeira Filmes. Vania Catani
T +55 212 225 6552 E vcatani@bananeirafilmes.com.br
bananeirafilmes@bananeirafilmes.com.br W bananeirafilmes.com.br

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE MUNDIAL / WORLD PREMIERE

hacerse grande

Maturit
Canu, una estudiante del ltimo ao del secundario, mantiene
una relacin a escondidas con un profesor del colegio. Cuando
su padre descubre la verdad, escapa a una humilde pensin
cntrica, donde vive experiencias que la llevarn a tomar decisiones clave en su vida.

Canu, a student in her last year of high school, is having a


secret relationship with one of her professors. When her father
finds out the truth, she escapes to a humble pension downtown, where she goes through experiences that will lead her
to make some key decisions.

Debajo de su historia vaporosa de romance clandestino, Maturit


despliega una fbula de espritu adolescente: depurada en la forma, libre en el tono, emocionalmente pertinente y bella como ella
sola. Pronto vemos que el director, en realidad, no filma el cuento
de un amor contrariado por las convenciones sociales sino un
modo, una vibracin. La pelcula recorre la ciudad, el colegio de
la protagonista, algn que otro boliche; todo con la conviccin,
ciertamente conmovedora, de que lo que ms importa est siempre a punto de escaparse, como el tiempo de los personajes o
esas imgenes improbablemente espectrales que acechan en los
pasillos o se cruzan delante de las cmaras de seguridad. Canu
parece una chica cualquiera, pero la pelcula, en un gesto irrepetible, declara que ella y su pequeo mundo pueden tambin ser la
materia indeclinable del cine. David Obarrio

Under its steamy, forbidden-love story, Maturit lays out a teenspirited fable, polished in its form, free in its tone, emotionally
appropriate and beautiful as can be. We will soon realize that,
actually, the director does not film the story of a love torn up by
conventions, but a mode, a vibration. The film wanders aroung
the main characters city, her school, a few nightclubs; all of it
with the certainly moving conviction that what matters the most
is always on the verge of slipping away, just like time, or those
improbably spectral images that haunt the corridors or appear in
security cameras. Canu looks like an ordinary girl, but the film, in
a unique gesture, declares that she and her small world can also
be the indeclinable substance of film. DO

Rosendo Ruiz

Argentina, 2016 / 75 / DCP / Color / Espaol - Spanish

Naci en San Juan en 1967, pero vive en Crdoba, donde se licenci en


cine y TV. Su pera prima, De caravana (2010), particip en la Competencia Internacional del Festival de Mar del Plata. Sus largos Tres D y Todo
el tiempo del mundo participaron en la Competencia Argentina del Bafici.
He was born in the province of San Juan in 1967, but lives in Crdoba,
where he got a Bachelors Degree in Film & TV. His first feature, De caravana (2010), was part of the International Competition at the Mar del
Plata Film Festival. His features Tres D and Todo el tiempo del mundo
were part of the Argentine Competition at Bafici.

D: Rosendo Ruiz G: Rosendo Ruiz, Candela lvarez, Paula Ledesma,


Vernica Varrone, Alina Santaella, Victoria Tisera, Luciana Dalfovo,
Federico Gonzlez Kriegel F: Pablo Gonzlez Galetto
E: Ramiro Sonzini, Rosendo Ruiz DA: Isabel Riberi S: Atilio Snchez
M: Claudio Soria, Alejo Navarro, Matas Luduea PE: Ins Moyano,
Sergio Badino CP: Colegio Dante Alighieri, El Carro
Contacto / Contact
El Carro. Rosendo Ruiz
T +54 9 351 683 1205 E rosendomario@yahoo.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

265

Coming of Age

Montanha
David, de 14 aos, se ve obligado a convertirse en el hombre de
la casa, mientras su abuelo vive sus ltimos das en el hospital.

Fourteen year-old David is forced to become man of the house


while his grandfather lives his last days at the hospital.

Con solo 28 aos, Joo Salaviza, autntico wonder boy del ltimo
cine portugus, haba ganado ya una Palma de Oro en Cannes
y un Oso de Oro en Berln con sus cortos Arena y Rafa, que
vencan la (inquietante) etiqueta de cine social por la concisin
y emotividad en el dibujo de sus inolvidables protagonistas. En
ese mismo registro se mueve su primer largo, con otro rebelde
con causa en busca de su destino en un barrio lisboeta. Un
western urbano, casi atemporal por su deliberada renuncia a
usar signos del presente celulares, computadoras, redes sociales, con la pica de la adolescencia en su intento de no
sucumbir ante la condescendencia y el cansancio, la soledad
y el vaco. La pica de sobrevivir al ms duro de los ochomiles:
el descubrimiento del dolor y el desencanto. Martin Pawley

With only 28 years of age, Joo Salaviza, a true wonder boy of


late Portuguese cinema of late, had already won a Palm DOr
at Cannes and a Golden Bear in Berlin with his shorts Arena
and Rafa, which defeated the (disturbing) label of social cinema due to the conciseness and emotion in the sketching of
their unforgettable protagonists. His first feature moves in the
same direction, with another rebel with a cause in search of his
destiny in a Lisbon neighborhood. An urban, almost timeless
western with a deliberate refusal to use signs from the present
cell phones, computers, social networks, about the epic of
adolescence and its attempt to not give in to condescendence
and exhaustion, loneliness and emptiness. The epic of surviving
the toughest of high peaks: the discovery of sorrow and disappointment. MP

Joo Salaviza
Naci en Portugal en 1984, y estudi en la Universidad del Cine de Buenos
Aires. Dirigi varios cortometrajes, como Arena (2009) y Rafa (2012).
He was born in Portugal in 1984, and studied at Universidad del Cine,
in Buenos Aires. He directed many shorts, such as Arena (2009) and
Rafa (2012).

Portugal / Francia - Portugal / France, 2015


91 / DCP / Color / Portugus - Portuguese
D, G: Joo Salaviza F: Vasco Viana E: Edgar Feldman, Joao Salaviza
S: Olivier Blanc P: Maria Joao Mayer, Franois dArtemare
CP: Filmes de Tejo II, Les films de lAprs-midi I: David Mourato,
Maria Joao Pinho, Rodrigo Perdigao, Cheyenne Domingues, Ema Araujo
Contacto / Contact
Pyramide International. Ilaria Gomarasca
T +33 142 960 220
E distribution@pyramidefilms.com
W inter.pyramidefilms.com

266

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hacerse grande

The Diary of a Teenage Girl


Diario de una adolescente
San Francisco en los aos setenta. En medio de la escena
post-hippie, el punk rock y la cocana, Minnie, una chica de 15
aos que aspira a ser artista de cmics, pierde la virginidad,
pero su primer amante no es otro que el novio de su madre.

San Francisco in the 1970s. In a post-hippie environment of


punk rock and cocaine, 15-year-old Minnie wants to be a comic book artist and loses her virginity, but her first lover is none
other than her mothers boyfriend.

Relato de la relacin romntica y sexual entre una quinceaera


y un hombre de 35 (que es, adems, el novio de su madre), la
primera adaptacin al cine de la novela grfica y semiautobiogrfica de Phoebe Gloeckner una artista que se nutri de los
lisrgicos trabajos de Robert Crumb y su mujer Aline Kominsky
no sucumbe al escndalo ni a la moralina y se aleja todo lo
posible de los lugares comunes de la obra de denuncia. Hija
de una madre soltera, fiestera y un poco irresponsable, Minnie
tiene todo lo que les falta a las chicas que la industria de la
idolatra pop fabrica en serie, empezando por el pster de Janis
Joplin, una intensa curiosidad y las calles de San Francisco de
mediados de los aos setenta de fondo. Las pginas de su salvaje diario se nos abren con humor, honestidad y una inusual
combinacin de morbo y ternura. Mariano Kairuz

A story about the romantic and sexual relationship between a


15-year-old and a 35-year-old man (whos also his mothers
boyfriend), the first film adaptation of the graphic, semi-autobiographical novel by Phoebe Gloeckner an artist influenced by
the lysergic works of Robert Crumb and his wife Aline Kominsky never succumbs to scandal or becomes a morality tale,
and steers clear from all the clichs of denunciation works.
Minnie, daughter of a single man, loves to party and is a bit
irresponsible, has everything thats lacking in the girls that the
industry of pop idolatry mass-produces, starting with a Janis
Joplin poster, an intense curiosity and the streets of San Francisco in the 70s as backdrop. The pages in her wild diary are
shown to us with humor, honesty and an unusual combination
of morbidity and tenderness. MK

Marielle Heller

Estados Unidos - US, 2015 / 101 / DCP / Color / Ingls - English

Naci en California en 1979. Ha trabajado como actriz en cine y televisin, adems es guionista y directora.
She was born in California in 1979. She worked as an actress in film and
television, and is also a writer and director.

D, G: Marielle Heller F: Brandon Trost E: Marie-Hlne Dozo,


Koen Timmerman DA: Jonah Markowitz M: Nate Heller
P: Anne Carey, Bert Hamelinck, Madeline Samit, Miranda Bailey
PE: Michael Sagol, Amanda Marshall, Jorma Taccone, Amy Nauiokas
I: Bel Powley, Alexander Skarsgrd, Christopher Meloni, Kristen Wiig
Contacto / Contact
Sony Pictures in Argentina. Cecilia Chiappano
E info@uipargentina.com.ar
W uip.com.ar

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Coming of Age

Entrecampos
En esta suerte de precuela de Maria do Mar (Competencia V&G),
Mariana es una chica de 11 aos que acaba de mudarse desde
Serpa a Lisboa con su padre. Los primeros das se van limpiando
la casa y conociendo el barrio nuevo, Entrecampos. Despus del
primer da de clases, Mariana se pierde volviendo a casa y tiene
que llamar a su padre para que la ayude. Al da siguiente, se
hace amiga de un compaero, Nicholau, y de su hermano mayor,
Simo. Ellos la invitan a almorzar y la ayudan a llegar a casa.
In this prequel of sorts to Maria do Mar (AG&G Competition),
Mariana is an 11-year-old girl from Serpa who just moved to
Lisbon with her father. The first days are spent cleaning the
house and getting to know the new neighborhood, Entrecampos. After the first day of school, she gets lost on the way home
and has to call her father for help. The next day, she becomes
friends with a boy in her class, Nicholau, and his older brother,
Simo. They invite Mariana for lunch and help her to get home.

Portugal, 2012 / 32 / DCP / Color / Portugus / Portuguese


D, G: Joo Rosas F: Joo Pedro Plcido E: Telmo Churro, Joo Rosas
S: Tiago Matos P: Luis Urbano, Sandro Aguilar CP: O Som e a Fria
I: Francisca Alarco, Francisco Melo, Joo Simes, Miguel Carmo
Contacto / Contact
Agencia - Portuguese Short Film Agency. Salette Ramalho
T +351 252 646 683
E agencia@curtas.pt
W curtas.pt/agencia

Joo Rosas
Naci en Lisboa, Portugal, en 1981. Se form en la Escuela de Cine
de Londres. Public tres libros de cuentos, y dirigi el cortometraje My
Mother Is a Pianist (2006) y el documental Birth of a City (2009).
He was born in Lisbon, Portugal, in 1981. He trained at the London
Film School. He published three books of short stories, and directed
the short film My Mother Is a Pianist (2006) and the documentary Birth
of a City (2009).

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msica
music

PREMIERE LATINOAMERICANA / LATAM PREMIERE

music

American Epic Trilogy


Triloga de la pica americana
Este recorrido imperdible por la cultura popular norteamericana se exhibe como una verdadera maratn en continuado
que constituye todo un acontecimiento para los aficionados
a la msica.

This mandatory journey through American pop culture is


screened as a series, like a true marathon that constitutes a
special event for music fans.

Esta verdadera pica de la msica americana dividida en tres


partes (The Big Bang, Blood and Soil y Out of the Many the
One) es un recorrido fascinante por la historia de gneros diversos, intrpretes y compositores, pero tambin es una saga
pletrica de pasin, diversin, trabajo e inspiracin. El colapso
de las compaas musicales en los aos veinte, la necesidad
de inventar una mquina trasladable para poder grabar a los
msicos lejos de los centros urbanos y el descubrimiento
de una vasta zona de artistas ignorados la mayora pobres
constituyen el comienzo de lo que hoy conocemos como la
msica moderna de los Estados Unidos. Los nombres ms
o menos clebres que desfilan por la pantalla son muchos,
cada uno un pionero o un continuador aventajado de quienes
lo precedieron, pero la riqueza del conjunto, que se puede ver
sobre todo en el extraordinario material de archivo, es algo
digno de apreciarse. David Obarrio

This true epic of American music divided in three parts (The


Big Bang, Blood and Soil and Out of the Many the One) is
a fascinating journey through the history of diverse genres,
musicians, and composers, but its also a plethoric saga of
passion, fun, work, and inspiration. The collapse of music
companies in the 20s, the need to create a machine that
could be moved to record musicians in distant locations away
from urban centers, and the discovery of an array of ignored
artists most of them poor constitute the beginning of what
today is US modern music. There are many somewhat famous
names parading on the screen, each one either a pioneer or a
gifted follower of those who preceded him, but its overall value
which can be noticed in the extraordinary archive footage is
something worthy of admiration. DO

Bernard MacMahon
Naci en Londres, y dirigi videos musicales para Garbage y The
Go-Betweens. Escribi artculos para el diario Sunday Times y la revista
britnica The New Stateman.
He was born in London and has directed music videos for Garbage and
the Go-Betweens. He wrote articles for the Sunday Times and British
magazine The New Stateman.

270

Estados Unidos / Reino Unido - US / UK, 2015


57 - 58 - 86 / DM / Color & B&N / Ingls - English
D: Bernard MacMahon G: Allison McGourty, Bernard MacMahon,
Duke Erikson, Bill Morgan F: Vern Moen, Richard Henkels
DA: Kyle Baker S: Dave Ross M: Duke Erikson, Bernard MacMahon
P: Allison McGourty, Bernard MacMahon, Duke Erikson, Bill Holderman,
Adam Block PE: Robert Redford, Jack White, T Bone Burnett
CP: Lo-Max Films

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

PREMIERE LATINOAMERICANA / LATAM PREMIERE

msica

The American Epic Sessions


Las sesiones de American Epic
Jack White rene a un elenco de pesos pesados de la msica
en un estudio de Los ngeles para replicar la atmsfera de las
grabaciones de 1920, utilizando todos los equipos de la poca.
Una oportunidad para rehacer la msica que cambi el mundo.

Jack White gathers a team of music heavyweights in a Los


Angeles studio to replicate the atmosphere of the recordings
of the 20s, using equipment from that era. A chance to remake
the music that changed the world.

Como corolario festivo de la American Epic Trilogy, estas sesiones de msicos contemporneos, con el ubicuo aunque eficaz
maestro de ceremonias Jack White, resultan de una inmediatez
y una frescura por momentos estremecedoras. Tocando en el
estudio y registrando la msica con un equipo antiqusimo una
mquina tan bella como intrigante y aparatosa, la misma usada
por muchos de los pioneros que aparecen en la triloga, los
intrpretes rinden homenaje a la amplia historia de la msica
moderna norteamericana y se prueban en el trance de ser, tambin, una parte de ella. Las actuaciones de Alabama Shakes,
Elton John, Willie Nelson, Merle Haggard, Taj Mahal o el propio
White son de un esplendor exquisito y constituyen menos un intento lgubre de preservacin que una celebracin del presente
en clave de reconocimiento a sus predecesores. David Obarrio

As a festive corollary of the American Epic Trilogy, these sessions


featuring contemporary musicians and the effective master of
ceremony Jack White deliver an immediate and fresh feel that is
occasionally heart-rending. Playing at the studio and recording
the music with a very old equipment a beautiful, intriguing,
cumbersome machine used by many of the pioneers featured
in the trilogy the musicians pay tribute to the long history of
American modern music, and test themselves in the trance of
being, also, a part of it. Performances by Alabama Shakes, Elton
John, Willie Nelson, Merle Haggard, Taj Mahal, and White himself are all an exquisite splendor, and constitute not so much a
somber preservation attempt as a celebration of the present in
the form of a recognition to their predecessors. DO

Estados Unidos / Reino Unido - US / UK, 2015


120 / DM / Color & B&N / Ingls - English
D: Bernard MacMahon G: Allison McGourty, Bernard MacMahon,
Duke Erikson, Bill Morgan F: Vern Moen E: Dan Gitlin DA: Kelsi Ephraim
S: Dave Ross M: Duke Erikson, Bernard MacMahon P: Allison McGourty,
Bernard MacMahon, Duke Erikson, Bill Holderman, Adam Block
PE: T Bone Burnett, Robert Redford, Jack White CP: Lo-Max Films
I: Nas, Jack White, Willie Nelson, Merle Haggard, The Alabama Shakes
Contacto / Contact
Lo-Max Films. Allison McGourty
T +1 310 857 9349
E allison@lomaxfilms.com W americanepic.com

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271

PREMIERE MUNDIAL / WORLD PREMIERE

music

Cosqun Rock XV. El documental


A travs de entrevistas recopiladas a lo largo de quince aos,
figuras del rock y la msica latinoamericana (Andrs Calamaro, Pappo, Pity lvarez y Charly Garca, entre otros) hablan de
su experiencia en un encuentro entre artistas y pblico.

The film features interviews collected throughout 15 years


with Latin American musicians and rock stars (Andrs Calamaro, Pappo, Pity lvarez, and Charly Garca, among others)
who talk about their experiences in a meeting between artists
and audiences.

Los festivales en Argentina resultaron determinantes para educar a generaciones nacidas al calor del rock and roll. En esa
lgica, Cosqun Rock termin instalndose como una de las
plataformas ms populares, slidas y vigentes del pas. Cuna
de aventuras, el Cosqun Rock puso nervioso a Pappo por el
backline de Divididos, junt a Charly Garca con Pity lvarez (qu
habr pasado en ese camarn, no?), hizo vibrar a cientos con
Las Pelotas, Len Gieco y Babasnicos y emocion a todos con
L. A. Spinetta tributando a Gustavo Cerati. El documental propone contar la historia del festival, pero tambin hacer un close-up
a la intimidad del mgico y misterioso mundo del rock nacional.
Y entre las sorpresas, il cappa bianca Jos Palazzo, su mentor
y tanque de nafta inacabable, se devela como un magntico
contador de ancdotas. Hernn Panessi

Argentinian music festivals turned out to be essential for the


education of generations that were born by the warmth of rock
and roll. In that scenario, Cosqun Rock established itself as
one of the most popular, solid, and prevailing platforms in the
country. A birthplace for adventure, Cosqun Rock made Pappo
nervous about Divididos backline, matched Charly Garca with
Pity lvarez (imagine what that dressing room was like!), made
thousands vibrate to the sound of Las Pelotas, Len Gieco, and
Babasnicos, and moved everyone with L. A. Spinetta honoring
Gustavo Cerati. The documentary tells the story of the festival,
but also zooms in the intimacy of the magic and mysterious
world of the local rock scene. Among the surprises featured in
this film, il cappa bianca Jos Palazzo, the events mentor and
endless fuel-pump, reveals himself as a magnetic storyteller. HP

Rubn Francisco Mostaza


Naci en Crdoba en 1965, y se form en la New York Film Academy,
donde realiz cuatro cortometrajes. Actualmente se desempea como
colaborador en el suplemento S de Clarn.
He was born in Crdoba in 1965, and trained at the NY Film Academy,
where he directed four short films. He currently works as a collaborator
in the S supplement of Clarn newspaper.

272

Argentina, 2016 / 100 / DCP / Color


Espaol - Spanish
D, G, P: Rubn Francisco Mostaza E: Baltazar Snchez
M: Luciano Caridi, Manuel Ogando PE: Vanesa Wilder I: Jos Palazzo,
Hctor Emaides, Andrs Calamaro, Dante Spinetta, Diego Tun
Contacto / Contact
Vanesa Wilder
T +54 9 351 667 9861
E vanesa.wilder@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

msica

East Punk Memories


Recuerdos del punk del este
En los aos ochenta, Lucile Chaufour film en Super 8 a un
grupo de punks hngaros que se rebelaban ante el rgimen
comunista. Veinte aos despus, regresa y les pregunta a esos
mismos msicos cmo ven la vida y la msica en su pas antes
y despus de la cada del Muro de Berln.

During the Eighties, Lucile Chaufour shot in Super 8 a group of


Hungarian punks who rebelled against the Communist regime.
Twenty years later, she returns and asks those same musicians about their views on life and music in their country before and after the fall of the Berlin Wall.

En los aos ochenta, contra toda sospecha, haba vida punk


del otro lado de la Cortina de Hierro. Mezclada en la escena de
Budapest, Chaufour film clandestinamente a sus protagonistas
en Super 8. A esos jvenes que aullaban droga comunista, no
hace falta seduccin (en hngaro suena ms potente, eh) los
mantena unidos la rebelda contra el socialismo real. Pero veinte aos despus, cuando Chaufour volvi a entrevistarlos, ya no
existan ni ese sistema poltico ni aquella unin: el movimiento
punk se haba desintegrado en ideologas irreconciliables, interpretaciones literales de la esvstica de Sid Vicious incluidas.
Con lucidez devastadora, East Punk Memories contrasta pasado
y presente de una generacin que comprob, en el torbellino
de la Historia, cunto de cierto tena eso de no hay futuro.
Agustn Masaedo

As strange as it sounds, back in the 80s there was punk life


on the other side of the Iron Curtain. Blending in the Budapest
scene, Chaufour filmed her protagonists clandestinely in Super
8. Those young people screaming communist drug, no need for
seduction (sounds much powerful in Hungarian, trust me) were
united by their rebellion against real socialism. But twenty years
later, when Chaufour returned and interviewed them, neither
that political system nor that union still existed: the punk movement had disintegrated in irreconcilable differences, including
literal interpretations of Sid Vicious swastika. With devastating
insight, East Punk Memories contrasts the past and the present of a generation of people who confirmed in the whirlpool
of History just how real was that whole no future thing. AM

Lucile Chaufour
Estudi en varias escuelas de msica en Pars, y toc en muchas bandas
de rock y jazz. Cre el sello Makhno Records, que les permiti a varios
grupos de punk rock difundir su msica. Dirigi tres cortos y los largos
Violent Days (2004) y Lone, mre & fils (2014; Bafici 15), que gan la
Competencia Vanguardia y Gnero.
She attended several music schools in Paris and played in many rock and
jazz bands. She founded the record company Makhno Records, which
allowed many punk rock bands to release their music. She directed three
short films and the features Violent Days (2004) and Lone, mre & fils
(2014; Bafici 15), wich won the Avant-Garde and Genre Competition.

Francia - France, 2013 / 80 / DM / Color


Hngaro / Ingls - Hungarian / English
D, G, E, DA: Lucile Chaufour F: Lucile Chaufour, Bernhard Braustein
S: Grgoire Couzinier, Bruno Porret CP: Supersonicglide
I: Kelemen Balzs, Tth Mikls, Mozsik Imre, Mrton Attila,
Papp Gyrgy Zoltn
Contacto / Contact
Supersonicglide. Ccile Leca
T +33 7 8285 3336
E cecile@supersonicglide.com
W supersonicglide.com ~ eastpunkmemories.com

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music

Entre dos luces Surez. Primera parte


Between Two Lights - Surez. First Part
La historia de Surez, grupo pionero del rock independiente
de los noventa, durante sus primeros aos y contada desde
su propia ptica. El VHS es la excusa perfecta para registrar
los diferentes momentos de la banda, entre shows, ensayos y
momentos clidos de su intimidad.

The story of Surez, a pioneering group from 90s local indie


rock scene, during their first years and told from the point of
view of the band itself. VHS is the perfect excuse to capture
different moments from the band, during shows, rehearsals
and warm, intimate moments.

Del lo-fi chirriante a la cancin pop luminosa; de un split junto a


Juana La Loca a un EP en homenaje a Le Mans; del casete con
una estrella roja en la fundacional Rapado al protagnico de su
cantante en Silvia Prieto. De 1989 a 2001, Surez galop por
los escenarios del indie-rock argentino con libertad y lucidez
gigantes. Durante todos esos aos, adems, sus integrantes
registraron en video muchos de sus momentos ntimos. Limitndose a organizar ese repertorio analgico sin agregar nada,
Blanco deja que, como aquellos shows que comenzaban ocultos tras largas tiras de papel, el misterio fulgurante de Surez
se devele entre ocurrencias, efectos berretas de videocmara
y muchos, muchos contestadores automticos: signos de esos
aos noventa que los Surez ayudaron a hacer ms amables y
felices con su msica. Agustn Masaedo (Catlogo 30 Festival de Mar del Plata)

From a screeching lo-fi sound to luminous pop songs; from a


split with Juana La Loca to a Le Mans tribute EP; from a cassette tape with a red star in the groundbreaking film Rapado to
the lead singers main role in Silvia Prieto. From 1989 to 2001,
Surez rode the scene of Argentine indie rock with great freedom and intelligence. Also during all those years, its members
recorded on video many of its intimate moments. Blanco wisely
sticks to organizing that analogic repertoire without adding anything else, and he lets Surezs dazzling mystery reveals itself
slowly like in those shows in which they started hidden behind
long paper strips amidst jokes, dodgy video-camera effects,
and lots and lots of answering machines: all symbols of the
90s, those years that Surez made more pleasant and happy
with its music. AM (30th Festival de Mar del Plata Catalogue)

Fernando M. Blanco
Naci en Buenos Aires en 1974, y estudi en ATC y en el CIEVYC. Realizador, camargrafo, editor y msico, desde 1997 ha realizado numerosos videoclips para bandas como Menos Que Cero, rbol, El Siempreterno y Cosmo. Es el guitarrista de Valle de Muecas. Entre dos luces es su
primer largometraje documental.
He was born in Buenos Aires in 1974 and studied at ATC and the CIEVYC.
A filmmaker, cameraman, editor and musician, he has made a number of
music videos for such bands as Menos Que Cero, rbol, El Siempreterno
and Cosmo. He plays guitar in Valle de Muecas. Between Two Lights is
his first documentary feature.

274

Argentina, 2015 / 88 / DCP / Color / Espaol - Spanish


D, G, E: Fernando M. Blanco S: Diego Martnez
PE: Fernando M. Blanco, Rosario Blfari, Fabio Surez, Marcelo Zanelli
I: Rosario Blfari, Fabio Surez, Marcelo Zanelli, Diego Fosser,
Gonzalo Crdoba
Contacto / Contact
100% Films. Fernando M. Blanco
T +54 9 11 6364 6839
E fernandomblanco@gmail.com
W facebook.com/entredosluces

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PREMIERE MUNDIAL / WORLD PREMIERE

msica

Hermosos Perdedores Pop


Beautiful Pop Losers
En 1993 cuatro jvenes de Adrogu y Temperley forman la
banda Perdedores Pop. Entre rockeros y periodistas, dos hermanos lderes tejen una historia incendiaria asumiendo la derrota desde el inicio. Atraviesan distintas pocas y su msica
permanece autntica y oculta a la vez.

In 1993, four young people from Adrogu and Temperley, in the


Buenos Aires province, formed the band Perdedores Pop. Half
rockers and half journalists, two brothers and leaders weave
an incendiary story acknowledging the failure since the beggining. They go through different times, and their music remains both authentic and hidden.

En los aos noventa todo pareca nuevo. Quizs el efecto revolucionario de los delivery y la televisin nos hiciera hablar de
cosas como el Nuevo Cine Argentino o el Nuevo Rock Argentino.
Dentro de esta ltima movida, Perdedores Pop tuvo un lugar de
reservado privilegio. Segn reza el lugar comn de la poca: se
habl de ellos ms de lo que se los escuch. Es que el apego
por la poesa ocurrente, el registro en baja fidelidad y una retorcida lectura de la cultura del fanzine eran un lujo conceptual
y para pocos. Con un slido registro en VHS y un original despliegue esttico, este documental recorre los primeros pero no
ltimos aos del grupo de Adrogu, exponiendo reveladores
registros sobre tcnicas como el cassetismo y el collagecollage, o los principios filosficos del cualquierismo, hasta
el regreso de la banda en 2012. Javier Sisti Ripoll

Back in the 90s, everything seemed new. Maybe it was the revolutionary effect of food delivery and television that made us talk
about things like New Argentine Cinema, or New Argentine Rock.
Perdedores Pop had a slightly privileged place in the latter. The
motto back then was: they were talked about more than they
were actually heard. Thing is, the attachment to witty poetry, the
low fi recordings, and the twisted interpretation of fanzine culture
were all a conceptual luxury, for only a few. With a solid VHS
record and an original aesthetic setting, this documentary follows
the first but not last years of the band from Adrogu, featuring
some revealing material about techniques such as tape-ism
and collage-collage, or the philosophical principles of whateverism, until the bands return in 2012. JSR

Agustn Arvalo

Argentina, 2016 / 60 / DM / Color & B&N / Espaol - Spanish

Naci en 1982 en Mar del Plata, Argentina, y egres de la Escuela Profesional de Cine. Trabaj en produccin, direccin y montaje de publicidad,
videoclips y televisin.
He was born in 1982 in Mar del Plata, Argentina, and graduated from
Escuela Profesional de Cine. He worked in production and direction, and
edited commercials, music videos and TV.

D, G: Agustn Arvalo F: Luca Kaplun, Agustn Arvalo


E: Maximiliano Burgos, Agustn Arvalo S: Maximiliano Burgos
M: Perdedores Pop, Menos que Cero, Morfi y Vinacho,
Teleunicos, Los Reyes del Falsete P: Agustn Arvalo,
Luca Kaplun CP: Anah Films I: Mariano Manza Esan,
Liniers, Leo Garca, Pablo Dreizik, Marcelo Montolivo
Contacto / Contact
Anah Films. Luca Kaplun
T +54 9 11 6059 2244
E luciakaplun@gmail.com

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275

PREMIERE LATINOAMERICANA / LATAM PREMIERE

music

I Saw the Light


Yo vi la luz
Tom Hiddleston se pone en la piel de la leyenda del country
Hank Williams, el msico que compuso algunas de las canciones ms perdurables del gnero antes de su prematura muerte a los 29 aos. El film abarca desde sus orgenes humildes
hasta su ascenso al estrellato.

Tom Hiddleston gets into the shoes of country legend Hank


Williams, the musician who wrote one of the most eternal
songs of the genre before his premature death at the age of 29.
The film goes from his humble origins to his rise to stardom.

Bob Dylan: Esas viejas canciones son mi diccionario y mi biblia. Todas mis creencias vienen, literalmente, de esas canciones; cualquier cosa, desde Let Me Rest on That Peaceful
Mountain hasta Keep on the Sunny Side. Pods encontrar
toda mi filosofa en ellas. Creo en un Dios del tiempo y del
espacio, pero cuando la gente me pregunta al respecto, mi
impulso es enviarlos hacia esas canciones. Creo en Hank
Williams cantando I Saw the Light. Yo tambin he visto
la luz. Fallecido a los 29 aos, Williams fue una leyenda
del country que pele mano a mano con Woody Guthrie por
ser la base sensible, forajida y mtica de cierta sensibilidad
americana. En este biopic, Tom Hiddleston (ese reptiliano y
amado lungo) se calza al artista como si fuera una guitarra
vieja pero invencible. Juan Manuel Domnguez

Those old songs are my lexicon and prayer book. All my beliefs come out of those old songs, literally, anything from Let
Me Rest on That Peaceful Mountain to Keep on the Sunny
Side. You can find all my philosophy in those old songs. I believe in a God of time and space, but if people ask me about
that, my impulse is to point them back toward those songs. I
believe in Hank Williams singing I Saw the Light. Ive seen
the light, too. Dead at 29, Williams was a legend of country
music that fought hand-to-hand with Woody Guthrie in being
the sensitive, outlaw, mythical basis for a certain American
sensibility. In this biopic, Tom Hiddleston (that lovable, tall
reptilian) wears the artists as though he were an old but
invincible guitar. JMD

Marc Abraham
Comenz su carrera como redactor de publicidad y luego trabaj como
periodista deportivo para varios diarios y revistas. Escribi numerosos
guiones para grandes estudios y fue uno de los fundadores de Strike
Entertainment, con la que produjo RoboCop (2014).
He started his career as an ad writer and later worked as a sports journalist for several newspapers and magazines. He wrote several scripts for
some major studios and was one of the founders of Strike Entertainment,
with which he produced RoboCop (2014).

276

Estados Unidos - US, 2015 / 123


DCP / Color - B&N / Ingls - English
D, G: Marc Abraham F: Dante Spinotti DA: Merideth Boswell
P: Brett Ratner, Aaron L. Gilbert, Marc Abraham, G. Marq Roswell
PE: Patty Long, Jason Cloth, John Raymonds, James Packer
I: Tom Hiddleston, Elizabeth Olsen, Bradley Whitford, Cherry Jones,
Maddie Hasson
Contacto / Contact
Sony Pictures in Argentina. Cecilia Chiappano
E info@uipargentina.com.ar
W uip.com.ar

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

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msica

Imagine Waking Up Tomorrow


and All Music Has Disappeared
Imagina despertar maana y que toda la msica haya desaparecido
Esta pelcula acompaa a Bill Drummond, un espritu anrquico del punk, en la bsqueda de nuevas voces para su coro,
integrado por un grupo de aficionados que no ensayan ni leen
partituras. Un viaje al punto cero de la msica que, inocentemente, nos permite inventarla de nuevo.

The film follows Bill Drummond, an anarchic punk spirit, in


his search of new voices for his choir, formed by a group of
amateurs who dont rehearse or know how to read music. Its
a journey to the ground zero of music that innocently allows
us to re-invent it.

Si decimos que los noventa fueron propiedad de Bill Drummond


exageramos un poco, pero no existe figura como la hiprbole
para referirnos al cofundador de la clebre clula situacionista
conocida como KLF. Dueos de un inexplicable control de su
propio destino, los KLF triunfaron cuando decidieron que era el
momento y, tras apenas 24 meses, pusieron punto final a su
carrera en un proceso de implosin heroico y sin precedentes.
Ms de dos dcadas despus, Drummond vuelve a las andadas
al formar The 17, una coral imposible construida al azar durante
un viaje por el Reino Unido. Su objetivo: crear una sinfona que
no fuera registrada ni escuchada por odos ajenos a The 17. Todo
eso partiendo de una premisa irresistible: imaginar que maana
te desperts y toda la msica ha desaparecido. Fran Gayo

If we said that the nineties were Bill Drummonds, we would


be exaggerating a little, but theres no such thing as hyperbole
when referring to the co-founder of the famous situationist cell
known as the KLF. Owners of an inexplicable control over their
own destiny, the KLF triumphed when they decided it was time
and, after merely 24 months, they put an end to their career
in a heroic, unprecedented imploding process. More than two
decades later, Drummond is back in business after forming The
17, an impossible choir built up randomly during a trip across
the UK. His goal: creating a symphony that would not be recorded or heard by anyone outside The 17. And all of this comes
from an irresistible premise: imagining waking up tomorrow and
all music has disappeared. FG

Stefan Schwietert
Naci en Alemania en 1961, pero se cri en Suiza. Estudi cine en el
Instituto de Arte de California y en el DFFB de Berln. Fund la productora
Neapel Film y dirigi varios documentales, entre ellos, Accordion Tribe
(2004), Heimatklnge (2007) y Balkan Melodie (2012).
He was born in Germany in 1961, but grew up in Switzerland. He studied filmmaking at the California Art Institute and the DFFB in Berlin. He
founded the production company Neapel Film and directed several documentaries, including Accordion Tribe (2004), Heimatklnge (2007) and
Balkan Melodie (2012).

Alemania / Suiza - Germany / Switzerland, 2015 / 86


DCP / Color / Ingls - English
D, G, DA: Stefan Schwietert F: Adrian Sthli E: Frank Brummundt,
Florian Miosge S: Dieter Meyer, Jean Pierre Gerth M: Bill Drummond
P: Cornelia Seitler, Brigitte Hofer, Helge Albers PE: Cornelia Seitler
CP: Maximage, Flying Moon I: Bill Drummond
Contacto / Contact
Maximage. Maya Galluzzi
T +41 44 274 8866 E mgalluzzi@maximage.ch
W maximage.ch ~ imaginewakinguptomorrowandallmusichasdisappeared.com

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The Jazz Loft According to


W. Eugene Smith
El loft del jazz segn W. Eugene Smith
Primera pelcula que utiliza el archivo de fotos y cintas de audio del fotgrafo W. Eugene Smith, que documentan las sesiones de improvisacin de Thelonious Monk, Zoot Sims y otros
grandes del jazz, mientras ensayaban en un loft a fines de los
cincuenta y sesenta.

This is the first film that used photographer W. Eugene


Smiths archives of photos and audiotapes, which document jam sessions by Thelonious Monk, Zoot Sims and
other great jazz musicians, as they rehearsed in a loft in
the late 50s and 60s.

A finales de los aos cincuenta, algo sucede en la vida del


fotoperiodista Eugene Smith. De su posicin como firma clebre de la revista Life, pasa a recluirse en un destartalado
edificio de la Sexta Avenida. All, Smith entra en un proceso
obsesivo que lo lleva a rodearse de su coleccin de cmaras,
sembrar su loft de micrfonos y registrar lo que a partir de
ese momento pas a ser su vida cotidiana: un eterno after
en la era dorada del cool jazz. Celebridades de toda clase
visitaron durante aos a Smith: Don Cherry, Sonny Rollins,
Robert Frank, Thelonius Monk, Norman Mailer, Diane Arbus,
y Henri Cartier-Bresson convivieron con lo ms granado del
lumpenaje local frente al objetivo de su cmara, dejando
constancia de un momento histrico irrepetible, en el que el
significado de la palabra bohemia alcanzaba su ms alto
estndar. Fran Gayo

Something happens in the life of photojournalist Eugene


Smith in the late 50s. Leaving his position as a famous name
in Life magazine, he secludes himself in a rundown building
on Sixth Avenue. There, Smith enters into an obsessive period that leads him to surround himself with his camera collection, spread microphones around his loft, and record what
his everyday life became at that point: eternal after-hours
in the golden age of cool jazz. All kinds of celebrities visited
Smith through the years: Don Cherry, Sonny Rollins, Robert
Frank, Thelonius Monk, Norman Mailer, Diane Arbus, Henri
Cartier-Bresson, they all coexisted with the cream of the local underclass in front of his camera lens, and documented
an unrepeatable moment in history, when the meaning of the
word bohemian reached its highest standard. FG

Sara Fishko
Es productora ejecutiva de la emisora de radio WNYC, especializada en
cultura. Su programa Fishko Files abarca una amplia gama de temticas,
como la crtica de cine y el arte moderno.
Shes an executive producer for the radio station WNYC, which focuses
on culture. Her show Fishko Files covers a wide range of topics, such as
film criticism and modern art.

278

Estados Unidos - US, 2015 / 88


DCP / Color & B&N / Ingls - English
D, G: Sara Fishko F: Tom Hurwitz E: Jonathan Johnson
S: Peter Miller P: Sara Fishko, Calvin Skaggs CP: WNYC Studios,
Lumiere Productions I: Jason Moran, Thelonious Monk Jr., Steve Reich,
Carla Bley, Sam Stephenson
Contacto / Contact
WNYC Studios. Sara Fishko
T +1 646 829 4471
E sfishko@wnyc.org
W wnyc.org ~ jazzloftthemovie.org

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Foto / Photo: Shin Katan

msica

Junun
En la primavera de 2015, el compositor israel Shye Ben Tzur,
Jonny Greenwood (Radiohead) y una docena de msicos de la
India fueron invitados por el Maharaja de Jodhpur al fuerte de
Mehrangarh. Paul Thomas Anderson film aquellas sesiones,
que tambin quedaron registradas en un disco.

In the spring of 2015, Israeli composer Shye Ben Tzur, Jonny


Greenwood (Radiohead) and a dozen musicians from India
were invited by the Jodhpur Maharaja to the Mehrangarh fort.
Paul Thomas Anderon filmed those sessions, which also were
captured on record.

En este slido primer acercamiento al terreno de la no ficcin,


Paul Thomas Anderson sigue a su habitual colaborador musical y
guitarrista de Radiohead, Jonny Greenwood, a Rajastn, al norte
de la India, donde el rockero britnico intenta grabar un disco
con varios invitados internacionales. Junun prepara su escenario
con una sola placa que explica el viaje de Greenwood al fuerte
de Mehrangarh. La cmara de Anderson adopta una posicin
ntima, registrando la ronda formada por Greenwood y los msicos en el suelo de una habitacin gigante en la que graban sus
canciones, algunas de ellas alegres y otras tristes. Sin proveernos de ningn tipo de informacin contextual en pantalla y con
el mnimo indispensable de entrevistas y conversaciones, Junun
funciona como una experiencia en la que todo el significado y la
emocin derivan de estar totalmente sumergidos en la msica
que se nos muestra. Nick Schager

Making a solid first foray into nonfiction terrain, Paul Thomas


Anderson tags along with his frequent soundtrack collaborator and Radiohead guitarist Jonny Greenwood to Rajasthan in
northwest India, where the British rocker aims to make an album with a host of international artists. Junun sets its stage
with a single title card explaining Greenwoods trip to the Mehrangarh Fort. Andersons camera assumes an intimate position,
the circle formed by Greenwood and his fellow musicians as
they sit on the floor of a giant room recording their joyful and
sorrowful songs. With no contextual onscreen information provided, and interview and conversational dialogue kept to a bare
minimum, Junun functions as an experiential documentary, one
in which all meaning and emotion is derived from being wholly
submerged in the music on display. NS

Paul Thomas Anderson


Dirigi Vivir del azar (1996), Boogie Nights - Juegos de placer (1998),
Magnolia (1999), Embriagado de amor (2002), Petrleo sangriento
(2007), The Master (2012) y Vicio propio (2014).
He directed Hard Eight (1996), Boogie Nights (1998), Magnolia (1999),
Punch-Drunk Love(2002), There Will Be Blood (2007), The Master (2012)
and Inherent Vice (2014).

Estados Unidos - US, 2015 / 54 / DCP / Color / Ingls / Hebreo /


Hindi / Urdu - English / Hebrew / Hindi / Urdu
D: Paul Thomas Anderson F: Paul Thomas Anderson, Nigel Godrich,
Sharona Katan, Ian Patrick, Arne Warmington E: Andy Jurgensen
S: Sam Petts-Davies CP: Ghoulardi Film Company I: Shye Ben Tzur,
Jonny Greenwood, The Rajasthan Express
Contacto / Contact
Erica Frauman
T +1 323 646 6111
E ericafrauman@me.com

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La La La at Rock Bottom
Misono Universe
Shiego pierde la memoria despus de haber sido golpeado.
Cuando conoce a Kaumi, descubre su talento para el canto y se
convierte en el cantante de la banda que ella representa. Una
comedia romntica acerca del amor, la redencin, la msica y
las segundas oportunidades.

Si esa maravilla llamada Linda Linda Linda fue la pelcula ramonera de Yamashita, La La La at Rock Bottom puede verse
y escucharse como su reversin beatle. La cancin podr no
seguir siendo la misma, pero el talento del director para la comedia pop y la fabricacin de personajes tan excntricos como
queribles se revelan intactos en esta parbola sobre el poder
redentor de la msica que, como peda Nick Hornby, jams necesita usar la palabra redencin. La voz cantante, para que no
extraemos a Doona Bae, la lleva aqu Subaru Shibutani, lder
de un famoso grupo de J-Pop; junto a Fumi Nikaido la enfant
terrible de Why Dont You Play in Hell? arman uno de los dos
ms adorables de este Bafici, uno que parece salido de la mejor
tradicin del screwball hollywoodense. Agustn Masaedo

Nobuhiro Yamashita
Naci en Japn en 1976 y estudi cine en Osaka. Fund la productora
Midnight Child Theatre con cuatro compaeros de la facultad. Sus pelculas Ramblers (2003) y Linda Linda Linda (2005) fueron proyectadas
en las ediciones 2004 y 2005 del Bafici. Luego realiz The Matsugane
Potchot Affair (2006; Bafici 08) y A Gentle Breeze in the Village (2007).
He was born in Japan in 1976 and studied filmmaking in Osaka. He
founded the production company Midnight Child Theatre with four college
mates. His films Ramblers (2003) and Linda Linda Linda (2005) were
screened in the 2004 and 2005 editions of Bafici. He later directed The
Matsugane Potchot Affair (2006; Bafici 08) and A Gentle Breeze in the
Village (2007).
280

Shiego gets amnesia after being struck. When he meets


Kaumi, he discovers his talent for singing and becomes the
lead singer in the band she manages. A romantic comedy
about love, redemption, music, and second chances.

If that wonderful film called Linda Linda Linda was Yamashitas


The Ramones-fueled film, Misono Universe can be interpreted
and heard as its beatle reversion. The song may not be the
same, but the directors talent for pop comedy and characters
as eccentric as lovable is still intact in this parable about the
redemptive power of music which, as Nick Hornby demanded,
doesnt need to ever use the word redemption. We wont miss
Doona Bae here, since Subaru Shibutani, the frontman of a famous J-Pop band, carries the lead vocals. Together with Fumi
Nikaido the enfant terrible from Why Dont You Play in Hell?
they form one of most lovely duos of this Bafici, one that seems
to emerge from the finest tradition of Hollywood screwball. AM

Japn - Japan, 2015 / 103 / DCP / Color / Japons - Japanese


D: Nobuhiro Yamashita G: Tomoe Kanno F: Futa Takagi E: Takashi
Satoh DA: Hironori Iwamoto, Norifumi Ataka S: Hisafumi Takeuchi
M: Shoji Ikenaga P: Kazuteru Harafuji, Tsuyoshi Matsushita,
Shinji Ogawa, Hiroyuki Negishi PE: Julie K. Fujishima CP: J Storm,
GAGA Corporation, Matchpoint I: Subaru Shibutani, Fumi Nikaido
Contacto / Contact
GAGA Corporation. Yuki Oguriyama
T +81 3 5786 7135
E oguriymy@gaga.co.jp
W www.gaga.co.jp ~ misono.gaga.ne.jp

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msica

Michael Jacksons Journey from


Motown to Off the Wall
El viaje de Michael Jackson: De Motown a Off the Wall
Spike Lee rene una gran cantidad de material de archivo para
crear esta crnica detallada de un captulo poco explorado en
la carrera musical del rey del pop: el lanzamiento de su quinto
disco en 1979 y su relacin con Quincy Jones.

Spike Lee gathers a great amount of archive footage to create


this detailed chronicle of an unexplored chapter in the king of
pops music career: the release of his fifth album in 1979 and
his relationship with Quincy Jones.

Todo artista es por lo menos dos personas: la que hace el arte y


la que hace todo lo dems. Es imposible no confundirlas, y nos
gusta leer la vida en el arte; pero a veces el arte se hace a pesar
de la vida, o se hace sin tomarla en cuenta. Michael Jackson
puede haber sido un chico confundido que se convirti en un
adulto confundido, pero tambin fue un artista que saba cmo se
hacan las cosas. Lee ha hecho un documental sobre ese Michael
Jackson; el artista, una persona llevada no solo a hacer msica,
sino tambin a conquistar el mundo. Tal vez la pelcula sea la base
para una historia alternativa; una vida en la que las cosas podran
haber resultado de forma diferente. No hay flash forwards hacia
esa otra persona del futuro, irreconocible excepto por la forma de
cantar y bailar. Esos aos, esas complicaciones y triunfos no son
para esta obra. Solo quiere rockear con vos. Robert Lloyd

Every artist is at least two people the person who makes the
art and the person who does everything else. Its impossible
not to confuse them, and we like to read the life in the art; but
sometimes the art is made in spite of the life, or made without
regard to it. Michael Jackson may have been a mixed-up kid
who became a mixed-up adult, but he was also an artist who
knew his stuff. Lee has made a documentary about that Michael
Jackson, the artist, a person driven not only to make music but
also to conquer the world. The film might be the foundation for
an alternative history, a life in which things could have turned
out differently. There are no flash forwards to that other, future
person, all but unrecognizable except in his singing and dancing. Those years, those complications and triumphs are not for
this piece. It just wants to rock with you. RL

Spike Lee
Naci en Atlanta, Estados Unidos, en 1957, y se gradu en la Tisch
School of the Arts. Dirigi numerosas pelculas, entre las que se
destacan Malcolm X (1992), 25th Hour (2003), Inside Man (2006)
y Old Boy (2013).
He was born in Atlanta, USA, in 1957, and graduated from the Tisch
School of the Arts. He directed several films, including Malcolm X
(1992), 25th Hour (2003), Inside Man (2006) and Old Boy (2013).

Estados Unidos - US, 2016 / 94


DM / Color & B&N / Ingls - English
D: Spike Lee E: Ryan Denmark, Barry Alexander Brown
S: Philip Stockton P: Spike Lee, John Branca, John McClain
PE: Karen Langford CP: Optimum Productions,
Sony Music Entertainment I: Michael Jackson
Contacto / Contact
Optimum Productions. Karen Langford
T +1 310 552 6534
E karenL@ziffrenLaw.com
W michaeljackson.com/us

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No va llegar
He Aint Gonna Make It
El bandoneonista Tomi Lebrero emprende un viaje junto a dos
yeguas y un potro que va domando en el camino. Un cantor
fantico de Pern y un guitarrero santiagueo son algunos de
los personajes desopilantes que compartirn consejos y canciones con el msico durante esta horse movie.

Bandoneon-player Tomi Lebrero sets on a journey with two


mares and a colt he will tame on the way. A singer and strong
supporter of Peron and a guitarist from Santiago del Estero are
some of the hilarious characters with whom the musician will
share advices and songs during this horse movie.

Hay tantos motivos diferentes para hacer un viaje como viajes distintos, y habra sido fcil para el cantautor Tomi Lebrero
explicar el que emprende en No va llegar con alguna clase de
chchara sobre el autoconocimiento, el espritu aventurero o la
bsqueda de las races telricas de su asombroso eclecticismo
musical. Nada que ver: Lebrero viaja porque s, porque se le
canta. En esa ausencia de cualquier racionalizacin radica buena parte del encanto de este documental placentero y libertario,
que prefiere ir al trote antes que al galope, para dejarnos conocer en detalle una tierra donde las canciones, la camaradera y
no pocos disparates brotan sin el menor esfuerzo, y donde hasta los caballos pueden volverse de pronto multiinstrumentistas
consumados. Agustn Masaedo

There are as many different reasons to go on a trip as there


are different kinds of trips, and it would have been easy for
singer/songwriter Tomi Lebrero to explain the one he embarks
on in He Aint Gonna Make It with some kind of chatter about
self-discovery, adventure spirit or the search for the roots of
his amazing musical eclecticism. Not at all: Lebrero travels because he wants to, because what the hell. In that absence of
any kind of rationalization lies an important part of the charm of
this pleasant, libertarian documentary that prefers to trot rather
than gallop, in order for us to get a detailed description of a land
where songs, camaraderie and quite a few absurdities come
up without much effort, and where even horses can suddenly
become seasoned multi-instrumentalists. AM

los Directores / the Directors


Segundo Bercetche: Dirigi los documentales BA RAP (Bafici 14) y
Jungle Boyz (Bafici 15). Cristian Costantini: Realiz los documentales Oro nestas piedras y El jardn secreto (Bafici 10). Tomi Lebrero:
Bandoneonista y cantautor. Hizo la msica de UPA! Una pelcula argentina (Bafici 07).
Segundo Bercetche: He directed the documentaries BA Rap (Bafici
14) and Jungle Boyz (Bafici 15). Cristian Constantini: He directed the
documentaries Oro nestas piedras and El jardn secreto (Bafici 10). Tomi
Lebrero: A bandoneon player and singer-songwriter, he wrote the score
for UPA! Una pelcula argentina (Bafici 07).

282

Argentina, 2016 / 110 / DCP / Color


Espaol - Spanish
D, G, P, PE: Segundo Bercetche, Cristin Costantini, Tomi Lebrero
F, E: Segundo Bercetche S: Cristin Costantini
M: Tomi Lebrero, Siro Bercetche CP: Acfala I: Tomi Lebrero
Contacto / Contact
Acfala. Segundo Bercetche
T +54 9 11 3173 6363
E siro-b@hotmail.com
W acefala.com.ar ~ facebook.com/novallegar

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msica

Nuevo Rock: Adicta, el documental


New Rock: Adicta, the Documentary
Dos das antes de que Adicta anunciara su separacin, el realizador concret, sin saberlo, la que sera la ltima entrevista
de la banda.

Two days before Adicta announced its disbanding, the filmmaker crystalized, without knowing it, what would be the
bands last interview.

Este documental dirigido por Fernando Barrios recorre la intensa vida de Adicta, una de las bandas ms particulares de la
escena argentina. En las voces de sus integrantes, en especial
en las de Rudy Martnez y Adrin Toto Nievas fundadores
originales, se ponen en evidencia algunas cuestiones nodales
que no solo hacen al grupo, sino tambin a un momento bisagra
del rock argentino. La parada firme de Adicta y otras bandas
similares frente al auge y monopolio del rock barrial a fines de
los noventa, su enorme carcter influenciador y, tal vez lo ms
importante, la apuesta de un do que eligi siempre el camino
ms difcil por el que un artista puede optar en estas latitudes:
la sofisticacin y la mixtura entre el rock y la pista, entre luces y
sombras. Mariano Valerio

This documentary directed by Fernando Barrios covers the intense life of Adicta, one of the most unique bands in the Argentine scene. The testimonies of its members, especially the original founders Rudy Martnez and Adrin Toto Nievas, express
some of the key issues of both the group and a turning point
moment in Argentine rock music. The film features Adictas firm
stand along other similar bands against the rise and monopoly of neighborhood rock in the late 90s, its hugely influential
spirit, and perhaps what is most important the adventure of
a duo who always took the hardest path for artists to choose in
this side of the world: sophistication and a mixture of rock and
dance floor, amidst lights and shadows. MV

Alejandro Barrios
Naci en 1987, y estudia diseo de imagen y sonido en la UBA. Produce
y programa desde hace tres aos el Festival Nacional de Cine de Esteban
Echeverra.
He was born in 1987, and studies image and sound design at the UBA.
For the past three years, he has produced and programed the Esteban
Echeverra National Film Festival.

Argentina, 2016 / 75 / DM / Color / Espaol - Spanish


D, G, F, E, DA, S, P, PE: Alejandro Barrios I: Adrin Nievas,
Rudie Martnez, Sebastin Carreras, Paulino Gil, Gaby Herbstein
Contacto / Contact
Alejandro Barrios
T +54 9 11 6849 3300
W facebook.com/nuevorockadicta

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Strike a Pose
Ponete en pose
En 1990, siete bailarines se unieron a Madonna en la Blond
Ambition World Tour, su gira ms controvertida. Ahora, 25
aos despus, revelan la verdad sobre la vida durante y despus de la gira.

In 1990, seven dancers joined Madonna in her highly controversial Blond Ambition World Tour. Now, 25 years later, they
reveal the truth about life during and after that tour.

Recuerdan cuando Madonna sola ser juguetona y feroz, y


sus acrobacias iconoclastas tenan el fin de ser provocaciones pop? La apoteosis de esos aos dorados fue la Blond
Ambition Tour de 1990, que escandaliz al mundo conservador con su yuxtaposicin de sexo y religin. Esa gira fue
registrada en el documental En la cama con Madonna, que
inclua imgenes de la jefa hablando en la cama con su harn de siete bailarines hermosos de diferentes tonalidades.
En la eventual reunin de los seis pavos reales vogueadores que sobrevivieron, esta inteligente pelcula dice cosas
que resuenan en un mundo donde la fama es cada da ms
efmera y la vida luego de que la ventana de la celebridad
se cierra es muy fra. Es una versin de A Chorus Line del
siglo XXI que examina lo que viene despus y no antes de la
euforia de haber sido elegido. David Rooney

Remember when Madonna used to be playful and fierce, and


her iconoclastic performance stunts were about pop provocation? The apotheosis of those golden years was the 1990
Blond Ambition Tour, which scandalized the conservative
world with its juxtaposition of sex and religion. The tour was
chronicled in the documentary Madonna: Truth or Dare, which
featured the boss exchanging pillow talk with her beauteous
multihued harem of seven young male dancers. In the eventual reunion of the six surviving voguing peacocks, this smartly
assembled film makes points that resonate in a world where
fame is increasingly ephemeral and life after the celebrity window closes can get awfully cold. Its a 21st century take on
A Chorus Line that examines what comes after rather than
before the euphoria of being chosen. DR

Ester Gould
Naci en Peterculter, Escocia, en 1975, pero vive y trabaja en msterdam. Estudi cine y periodismo all y en Nueva York.
She was born in Peterculter, Scotland, in 1975, but lives and works in
Amsterdam. She studied film and journalism there and in New York.

Holanda / Blgica - Netherlands / Belgium, 2016


83 / DCP / Color & B&N / Ingls - English

Reijer Zwaan

D, G: Ester Gould, Reijer Zwaan F: Reinout Steenhuizen


E: Dorith Vinken S: Marc Lizier M: Bart Westerlaken
P: Rosan Boersma, Sander Verdonk, Denis Wigman, Ester Gould,
Reijer Zwaan CP: CTM Docs, The Other Room

Naci en 1981, y actualmente trabaja como periodista y realizador para


la televisin pblica holandesa.
He was born in 1981, and currently works as a journalist and director for
Dutch public television.

Contacto / Contact
CTM Docs . Rosan Boersma
T +31 634 139 289
W strikaposefilm.com ~ strikeaposedocu

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