At the end of the world, we follow the only two remaining creatures: One covered in grass and one covered in hair.
The theatre as a courtroom, the courtroom as a theatre. Alejo Moguillansky’s film draws loosely on Raúl Quirós Molina’s El pan y la sal (The Bread and the Salt), a 2015 verbatim theatre piece compiled from the testimonies provided during the 2012 trial of Judge Baltasar Garzon, for investigating the forced disappearances of the Spanish Civil War and the Franco regime. Juxtaposing the testimonies of the relatives of those who lost loved ones with references to Argentina’s and Chile’s recent dictatorships, this film explores issues around international law and forced disappearance - tracing a line between Francisco Franco, Augusto Pinochet and Jorge Videla’s Military Junta: Garzón has investigated Argentine torturers and criminal perpetrators and had Pinochet arrested in London in 1998 for crimes against humanity.
A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.
On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.
A Chilean-Argentine intervention that mixes dance and cinema, in which outstanding dancers "come back to life" through their movements. They appropriate public and emblematic places in the city of Santiago that, paradoxically, are empty. Les Revenants is a work-installation consisting of six different dance solos, which were recorded in emblematic buildings in Santiago that were empty due to the pandemic. These records were projected in different places in the city -such as advertising posters, walls and screens-, in what was its premiere, during Santiago a Mil 2021.
In 2000 Alejo Moguillansky, Diego H. Flores and Fermín Villanueva filmed for three days aboard the ARA San Juan submarine. Twenty years later, Alejo Moguillansky edited that old material in this travel chronicle called The Submarine Night, narrated by Luciana Acuña and himself, written together with Mariano Llinás.
The grass men - That's my duck! - Silence, Dvorak! -Kill that fly - Eat grass - Walkie Talkies - Fly fishing - The fan episode - Tourists under the bridge - The boat has a life of its own! - An American Anthem - The Canoe Ride Some blond idiots - Photo! - Hit the partner - Buckets falling from the sky! - Hunting in the mountains - The car has spasms - A flying umbrella! - Kicks in the butt - The top of the mountain - Tire throwing - The car goes alone! To catch a wheel - The river - A Cordovan quartet - Conservative throw - The water wells - Combat with umbrella - Trap with towel - Hip break - Gomerazos - Some children in the river - Drowning Kill the partner - A heron in the waterfall - Cross the river - He's a man of grass! - A shotgun for a deck chair - Shoot your neighbor - Aaaahhhh !!! - The last laugh - Dying, reviving and dying forever on the mountain
In all the stories that Llinas presents to us here with his narrative flair, well-known from Extraordinary Stories, we see the same four actresses, but each time in different roles: Elisa Carricajo, Valeria Correa, Pilar Gamboa, Laura Paredes – we also see them grow and get older.
A miserable Argentine troupe of actors, dancers, musicians, filmmakers and a girl embark on a theatre tour to some country, probably in Latin America.
An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…
Luciana Acuña is a Uruguayan actress and director, known for La Flor (2018), The Little Match Girl (2017) and The Parrot and the Swan (2013).
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