Juan Taratuto – Papeles en el viento AKA Papers in the Wind (2015)

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When Alejandro “Mono” dies, his brother and two closest friends, a tight-knit group since childhood, are left to figure out how to take care of his young daughter, Guadalupe. They want to give her all the love they felt for Mono and secure her future, but there isn’t a single peso left in the bank. Mono invested all of his money in a promising soccer player whose promise hasn’t panned out, and the three hundred thousand dollars Mono spent on his transfer is soon to be lost for good. How do you sell a forward who can’t score a goal? How do you maintain relationships when repeated failures create fissures in lifelong loyalties? Fernando, Mauricio, and “Ruso” pool the few resources in their arsenal to come up with strategies in their desperate attempt to recoup Mono’s investment for Guadalupe. Papers in the Wind is a tribute to friendship and proof that love and humor can triumph over sadness. Continue reading Juan Taratuto – Papeles en el viento AKA Papers in the Wind (2015)

Hugo Santiago – Invasión (1969)

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nvasion is the legend of a city, real or imagined, under attack by powerful enemies and defended by a handful of men who may not be heroes. They will carry on their struggle to the finish, unaware that the battle is endless.

“Two analogous experiences, distant from each other, now live in my memory. The oldest has been with me since 1923: I’m referring to that afternoon when I held in my hands the first copy of my first book. The other, the recent one, is the emotion I felt when I saw Invasion on the screen. A printed book is not so different from a manuscript; a film is a visible projection, detailed, heard, enriched, and magical os something dreamed, barely descried. As I am one of the authors, I cannot allow myself to priase it. I would like to leave in writing, however, that Invasion es loke no other film, and it might well be the first of a new fantastic genre” –Jorge Luis Borges, Buenos Aires, April 1969 Continue reading Hugo Santiago – Invasión (1969)

Pablo Fendrik – El asaltante AKA The Mugger (2007)

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Clocking in at only 70 minutes, Argentine director Pablo Fendrik’s unsparingly tense drama El Asaltante (AKA The Assailant, 2007) observes – in real-time – the various conflicting emotions undergone by a perpetrator before he commits a serious and potentially lethal act of aggression. After premeditating the event in his mind for ages, the titular assailant opts to move forward, step by step, and experiences a co-mingling of fear, apprehension, rage, and an overriding loss of hope that will ultimately drive him to commit the most desperate act of his life. Continue reading Pablo Fendrik – El asaltante AKA The Mugger (2007)

Héctor Olivera – No habrá más penas ni olvido aka Funny Dirty Little War [+Extras] (1983)

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This production was shot in the province of Buenos Aires while the ruling generals were yet in power, and was released in the midst of the election period in 1983 when leftist radicals retired the Perónists, an event that this work helped bring about, in large part due to a graphic depiction of right-wing death squads, murdered hostages and torture, being most certainly a film of seminal importance to those having knowledge of the Perónist period Continue reading Héctor Olivera – No habrá más penas ni olvido aka Funny Dirty Little War [+Extras] (1983)

Milagros Mumenthaler – Abrir puertas y ventanas aka Open Doors, Open Windows (2011)

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From Argentina, this film is called Abrir puertas y ventanas in Spanish, “To Open Doors and Windows.” And indeed the first time director, Milagros Mumenthaler, has a fixation on these two apertures: the camera is always catching a window or a door being gone through, opened, slammed. As has been remarked by others, it is the visuals that appeal in this slow-moving, delicate film. Less appealing and not deeply explored are the protagonists — three sisters, though they don’t resemble each other. Marina (Maria Canale), a college student and the most responsible one of the three, doesn’t want anything to change. The irritable and uncooperative Sofia (Martina Juncadella) is an obvious contrast, constantly changing outfits and rearranging or disposing of the decor. The listless Violeta (Ailin Salas) lies about scantily clad, most of the time too lazy even to get fully dressed. Something is off, but it takes a while to find out what — their grandmother and guardian, a university professor, has recently died of a heart attack. Hanging around in their comfortable house and troubled by family secrets, the sisters appear to have few friends and no other family. Though Maria occasionally goes off to school, they all seem largely immobilized, it would seem as much by laziness, the heat, and boredom as by grief; or they may need to express grief and lack the energy to do so. They can’t be bothered to go to a video shop and merely telephone to order a movie to be delivered — “A comedy,” “Something that’s not Argentinean.” Continue reading Milagros Mumenthaler – Abrir puertas y ventanas aka Open Doors, Open Windows (2011)

Fernando E. Solanas – Sur (1988)

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Plot Synopsis by Sandra Brennan
Like Solanas’ previous film Tangos (1985), South is a film about a forced exile (in the form of imprisonment) and a painful reunion in the midst of political turmoil. It is also a story about the healing power of nostalgia. The story is set in 1983 just after the fall of the military dictatorship and the restoration of the democracy. For the past five years, Floreal has been a political prisoner. He is released in the evening, but rather than returning straight home to his wife Rosi, he decides to wander around to gather his thoughts and sort through his mixed emotions concerning not only the deaths of his closest friends, but also the lonely, long-suffering Rosi’s affair with Floreal’s best friend Roberto. Everything in his old neighborhood has changed dramatically and as Floreal aimlessly wanders, a dense fog blankets the political pamphlet covered streets, lending a dreamlike atmosphere to the night. Occasionally, he is visited by the ghosts of former friends and co-workers. Meanwhile, Rosi nervously waits in her bedroom for Floreal to return. AllMovieGuide Continue reading Fernando E. Solanas – Sur (1988)

Mario Sábato – El poder de las tinieblas aka Power of Darkness (1979)

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“El poder de las tinieblas” (Power of Darkness) is a film based upon a famous novel by argentinian writer Ernesto Sábato INFORME SOBRE CIEGOS. Its plot is simple and powerful: a person begins to believe that every blind man he sees is persecuting him. This fear is gradually growing to reach unexpectable points. The plot is ok, but actors are not playing good enough and, therefore, the film is not so good as the book. Anyway, I think it is a good defy to comprehend some of the not always successful relationships between literature and cinema. Continue reading Mario Sábato – El poder de las tinieblas aka Power of Darkness (1979)