EL [18] BUENOS AIRES

FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

AGRADECE EL APOYO DE LAS SIGUIENTES INSTITUCIONES

2 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

AGRADECIMIENTOS / THANKS TO

Adam Batty Diego Batlle Juan Jos Becerra Natalia Toloza

Adriano Bruzzese Diego Brodersen Juan Lovece Nazareno Brega
Agustn Arvalo Diego de la Vega Juan Pablo lvarez Ngaio Harding-Hill
Agustina Arbetman Diego Lerer Juan Pablo Bava Nicols Repetto
Agustina Chiarino Diego Trerotola Juan Pablo Galli Octavio Nadal
Agustina Romero Dolores Meijomn Juan Vera Olimpia Pont-Chafer
Akemi Makado (Mirage 3D) Ebrahim Golestan Juan Villegas
Pablo Conde
Alain Maudet Eduardo Bentez Judith Prescott
Pablo Marn
Alberto Barbera Eduardo Crespo Juliana Gonzlez
Aldo Montao Pablo Medina
Eduardo Machuca Julie Bergeron
Alejandro Capato Eduardo Novelli Valente Justin Chang Paolo Moretti
Alejandro Dramis Elena Duque Karen Langford Patagonik
Alessio Rigo de Righi Elas Mekler Kent Jones Patricia Barbieri
Alex Escaleira Emiliano Andrs Cappiello Kim Hendrickson Pauline Frachon
Alicia Sanguinetti ENERC Laura Kuhn Pedro Mairal
Amanda Reis Esteban Echevarra Leandro Listorti Peter Popp
Ana Poliak Felipe Silvestre Leda Films Quintn
Andra Dos Santos Fernando E. Juan Lima Leonardo DEspsito Rasmus Brendstrup
Andrs Levinson Fernando Martn Pea Leticia Jorge Rmi Burah
Andrs Nazarala Fernando Paduzack Lisa Kermabon Robert Koehler
Andrs Tambornino Festival Ambulante Lita Stantic Robert Lloyd
Angela Savoldi FICUNAM Lourdes Lima
Robert Sawallisch
Anna Lewis Flavio Nardini Lucas Garfalo
(Planetarium Jena)
Annamaria Lodato Florian Weghorn Luciana Calcagno
Argentina Sono Films Rodrigo Aroz
Floriano Buono-Palamaro Luciano Monteagudo
Ariana Blanco Gabriel Medina Maia Debowicz Rodrigo Areias
Aurlie Godet Gabriel Rocca Manuel Antn Rodrigo Bedoya
Aurore Auguste Gabriel Saie Manuel Ferrari Rodrigo Moreno
Beatriz Martnez Gabriela Ribeiro Marcela Cassinelli Rodrigo Moscoso
Beatriz Ventura Gabriella Baldini Marcela Gamberini Roger Koza
Beln Caparrs Gastn Olmos Marcela Santiso Rosa Vita Pelegrin
Benjamn Domenech Gastn Solnicki Marcelo Alderete Rosana Berlingeri
Bita Rasoulian Georgina Tosi Marcelo Panozzo Rufus de Rham
Bruni Burres Graldine Nougus Marcos Merino Santiago Calori
Camila Toker Gerwin Tamsma Mara Marta Antn Santiago Garca
Carlo Chatiran Giulia DAgnolo Vallan Marian Fernndez (Festival Santiago Giralt
Carlos Sorn Graciela Borges Punto de Vista)
Santiago Loza
Carlota Mosegu Graciela Silva Mariana Mutri
Santiago Mitre
CDI Films Guido Segal Mariano Kairuz
Santiago Motorizado
Cecilia Barrionuevo Guillermo Alonso Mariano Valerio
Cecilia Bianchini Gwen Deglise Marlia Cristina de Meneses Santiago Palavecino
Cecilia Chiappano Gyula Kosice Marina Locatelli Sarah Kurchak
Cecilia Martnez Hans Hurch Marina Yuszczuk Sebastin De Caro
Celeste Castillo Hctor Milosi Mario Santos Sena Latif
Celina Murga Hernn Panessi Mark Weber (Adler Sergi Steegman
Celina Pla Hernn Schell Planetarium) Sergio Bulach
Christian Hippacher Horace Lannes Martn Bielinsky Silvina Stemberger
Christine Trstrum Ilse Hughan Martin Pawley Tamae Garateguy
Cinemateca INCAA Irene Javiesky Martn Rejtman Tom Vincent
Constanza Arena Ivn Fund Martn Rodriguez Ulises Rosell
Cristian Bernard Jaime Pena Martina Pagnotta Valeria de la Cruz
Cristina Moncayo Florales Jason Fletcher Mary Vieites
Valeria Pedelhez
Daniel Alaniz Javier Sisti Ripoll Massimo Saidel
Valeria Zamparolo
Daniel Chabannes Jean-Pierre Rehm Matas Capelli
Vania Catani
Danish Film Institute Jerome Paillard Max Prez Fallik
David Bisbano Joan Pons Miguel Valverde Venice International Film
David Duponchel Jordan Hoffman Milagros Amondaray Festival
David Rooney Jorge Moragues Mora Snchez Viamonte Vernica Chen
David Schwartz Jos Martnez Surez Morena Fernandes Will Massa
Dennis Lim Josefina Garca Pulls Nacho Viale William Pfeiffer
Desiree De Fez Juan Duarte Nadia Dresti Xavier Baert

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 3

Para esta edicin de Bafici buscamos unir lo
tradicional del Festival con nuevas propues-
tas para que todos conozcamos el cine de
nuestro pas y del mundo. Propuestas rela-
cionadas con duplicar las proyecciones gra-
tuitas, aprovechando cada vez ms los luga-
res que nos ofrecen los barrios de la Ciudad
para verlas. Queremos que todos los ciuda-
danos 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 Facebo-
ok 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 pel-
cula 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 expe-
riencias 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 cre-
cieron con este Festival junto a los que ve-
nimos disfrutndolo desde hace ms aos.
Estamos orgullosos de poder darle la bien-
venida a uno de los festivales de cine ms
importantes de Latinoamrica.
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
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 se-
nior 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, neigh-
bors 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 ex-
perience 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 en-
joyed it for many years. Were proud of wel-
coming them to one of the main film festivals
in Latin America.
En la 18 edicin del Bafici nuestro desafo es
que nuevos espectadores de todas las eda-
des 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 tradi-
cionales, centros culturales, espacios al aire
libre), sino tambin, y muy especialmente,
en barrios informales. Con esta ltima pro-
puesta queremos insistir en que el arte debe
formar parte de nuestras polticas de inclu-
sin. 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 espec-
tadores 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 pa-
ses de todo el mundo, a compartir otras ex-
periencias 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, abue-
los 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 in-
cansablemente para que esta fiesta salga a
la perfeccin.
Este ao el Bafici cumple su mayora de
edad. Estos 18 aos de puro aprendizaje im-
plican 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.
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
Our challenge for this 18 th 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 pro-
gramming, 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 cen-
ters, outdoor venues) but also, and espe-
cially, in informal neighborhoods. With this
last proposal we want to insist on the fact
that art should be part of our inclusive poli-
cies. 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 cul-
tural exchange between Argentina and doz-
ens 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, par-
ents and children, teachers and students.
And also us, the Ministry team who is work-
ing hard to make sure this party is perfect.
This year, Bafici becomes of legal age. These
18 years of learning to carry a great respon-
sibility, especially when meeting the de-
manding taste of film lovers and responding
to the enthusiasm of thousands of citizens.
5
El Bafici concentra en doce das es decir, el
3,3% del ao una cantidad de pelculas si-
milar 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 homo-
gnea 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, produc-
tores. Gente que viene a charlar, a debatir, a
ensear. Pelculas acompaadas por mues-
tras no se pierdan la Galera Bafici, concier-
tos, 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 sen-
cillo. 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 pasa-
das. En ese sentido, por ejemplo, si el Bafici
fue el lugar en el que pudimos explorar el cine
de Extremo Oriente, esta edicin 2016 vuel-
ve 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.
Javier Porta Fouz
Director Artstico [18] Bafici
Ciudad Autnoma de Buenos Aires
6 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Y si creemos que hace falta una renovacin
en la programacin, nos ponemos a pensar
un panorama en el que hasta se lica la pro-
pia palabra panorama, al agrupar las pelculas
en algunas categoras ya probadas y tambin
en otras flamantes: ms informacin para de-
cidir 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 com-
paeros de trabajo de estos 15 aos los
aprendizajes, los apuros, incluso las tensio-
nes propias de hacer un evento de estas
dimensiones. Quiero mencionar especial-
mente a Marcelo Panozzo y Paula Niklison
por la generosa transicin para una edicin
que comenzamos juntos bajo su gestin.
Ahora, como director artstico, quiero agra-
decer 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 so-
lamente me han soportado, hicieron adems
un trabajo extraordinario y con alegra con-
tagiosa: son Magdalena Arau, Violeta Bava,
Fran Gayo, Agustn Masaedo y David Oba-
rrio. 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.
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 coun-
tries to be watched in film theaters, or out-
door screenings. Films presented by their
directors, actors, musicians, and produc-
ers. 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 vari-
ety 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 Lat-
in American films havent circulated that
much and they can be grouped together
into a new competition, we add that novel-
ty. And if we think theres need for renova-
tion in the programming, we start to think
JPF
Artistic Director [18] Bafici
Autonomous City of Buenos Aires
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
about a panorama in which even the word
panorama itself gets liquefied, as we group
films in both new and already tested cat-
egories: 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 direc-
tors and five different producers, and differ-
ent 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 transi-
tion into an edition we started together un-
der their management.
Now, as an artistic director, Id like to ac-
knowledge, in the first place, the trust of the
Ministry of Culture authorities. And, espe-
cially, the programmers who continue from
past years, as well as the ones who joined in
the last months the most intense and cru-
cial time. They not only have stood up with
me, but have also delivered extraordinary
work with a contagious joy: they are Magda-
lena Arau, Violeta Bava, Fran Gayo, Agustn
Masaedo, and David Obarrio. And Juan Man-
uel 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 re-
spectively 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.
7
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 GERENCIA OPERATIVA Luis Martelli Redaccin de Noticias

DE BUENOS AIRES DE PRODUCCIN Daniela Perez Klein Guillermo Pintos
Silvia Tissembaum Paula Niklison Isabelle Siegrist Traduccin al Ingls
Cecilia Zabaleta
DIRECCIN ARTSTICA BAFICI PRODUCCIN RELACIONES
Realizacin de Videos
Milena Barron INSTITUCIONALES
Javier Porta Fouz Gabriel Starna - Borde Chino
Ailn Bosco Paz Canessa
Fotografa
Natalia Cols
PRODUCCIN GENERAL PRENSA Y COMUNICACIN Fernando Dvoskin
Martn Frosio
Ailn Bressan Luis Madril Equipo de Prensa
Coordinacin General
Xavier Mercado Ministerio de Cultura Gastn Mary
PRODUCCIN EJECUTIVA Martn Rea lvaro Rufiner Ignacio Navarro
Luciana Saffores Malena Schnitzer
Coordinacin de Contenidos
GERENCIA OPERATIVA Agostina Zaros
Sol Navedo
PROGRAMACIN DE LOGSTICA
Coordinacin de EDICIN DE CATLOGO
Magdalena Arau Romina Marson Diseo Grfico Y GUA DE PROGRAMACIN
Violeta Bava Coordinacin Paula Galli
Micaela Berguer
Fran Gayo Florencia Blanca Coordinacin de Javier Diz
Agustn Masaedo Maria Ayeln Decuzzi Comunicacin Digital
Equipo
David Obarrio Equipo Guido Della Bella
Montserrat Callao Escalada
Ariel Cceres Coordinacin de Prensa Elena Marina DAquila
PROGRAMACIN BAFICITO Paula Contrera Sofa Andrada Agustn Masaedo
Adrin Dragonetti Gustavo Fischer
Juan Manuel Domnguez David Obarrio
Abrahan Prieto
Administracin, Sol Santoro DStefano
Claudio Rogatti Logstica y Produccin
COLABORACIN Traduccin
EN PROGRAMACIN Nicole Goldszmidt Agustn Mango
OFICINA DE INVITADOS
Jaime Pena Contenidos Juan Pablo Martnez
Coordinacin Georgina Lima
Paz Canessa Constanza Zarnitzer DIARIO SIN ALIENTO
PRODUCCIN ARTSTICA
Denise Menache Coordinacin Audiovisual
Coordinacin Edicin
Equipo Macarena Herrera Bravo
Paloma Dema Juan Manuel Domnguez
Vera Czemerinski
Diseo de Marca Redaccin
Equipo Mara Joao Machado
Guido Della Bella Daniel Alaniz
Mnica Prez Marina Moreira
Paula Galli Maia Debowicz
Claudia Salcedo Ana Schmukler
Diseo Grfico Sol Santoro DStefano
Atencin al Invitado
Martn Borgese Guido Segal
CINE ARGENTINO Gabriela Sofa Flores
Leonardo Manilow Marina Yuszczuk
Camila Godoy
Coordinacin Carlus Rodrguez Correccin
Noelia Lencina
Nicols Carnavale Diseo Editorial Montserrat Callao Escalada
Paula Repetto
Asistencia Marina Weins Vernica Roca
Florencia Gonzlez Cascio Equipo LIBROS [18] BAFICI
Interpretacin
Pablo Gonzlez Dadone en Presentaciones Cecilia Loidi Edicin
Julio Fermepin Julin Villagra Juan Manuel Domnguez
COORDINACIN TCNICA Marina Lacarta Diseo Web y Programacin Traduccin
Pa Ruiz Luque Danilo Locker Alejandro Duarte Juan Pablo Martnez

8 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 STAFF

PRODUCCIN COMERCIAL Martin Cmpora SUBTITULADO Y VIDEOTECA INFORMES

Andrs Mozzi Laura Castro Mercedes Amorena Coordinacin
Franco Orono Agustn Demichelli Mara Fernanda Moreira
Federico Scagliotti Brenda Greco ACTIVIDADES ESPECIALES
Asistencia
Cayetano Vicentini Federico Guzzetti Michelle Jacques-Toriglia Noelia Cao
Rocio de la Mano Ariana Spenza Lisandro Outeda
ACREDITACIONES Conrado Negrin Agustn Toscano
Florencia Babouian Federico Orlan SALAS
DISEO DE ESPACIO
Asistencia Chequeo de Flmico Mara Carew Coordinacin
Julio Sebastin Benavides Victoria Deluca Eugenia Garcia Castera Carolina Piola
Narvez Chequeo de DCP y Vernica Gilotaux Asistencia
Postproduccin Camila Levy Daniel
PROGRAMACIN Constanza Curia GALERA BAFICI Geraldina Rauwolf
EN SALAS Direccin de Piso Coordinacin y curadura
Magdalena Arau Gloria Cesar PREMIO DEL PBLICO
Romina Beraldi
Agustn Masaedo Florencia Marconi Juan Manuel Domnguez Coordinacin
Miranda Barrn Tcnicos de sala Valeria Keller Mara Julia Bonetto
Ariana Spenza
Marcelo Arias
REA DE PROYECCIN Diseo grfico GERENCIA OPERATIVA
Ezequiel Azambuya
Coordinacin General Catalina Ferrari
Leonardo Malinow GESTIN DE
Lucas Iaccarino Szvalb Malena Gerez OPERACIONES
BUENOS AIRES LAB (BAL)
Coordinacin de Johanna Jezernicki Ada Barbara
Direccin
Formatos Digitales Agustina Marquez Equipo
Agustina Costa Varsi Adriana Alonso
Lautaro Panelo Micaela Masetto
Produccin Artstica Maximiliano Betti
Coordinacin de Sonido Albertina Molares
Michelle Jacques-Toriglia Ricardo Cebeiro
Arian Frank Camila Navas
Asistencia Matas Coto
Produccin Tcnica Belen Povia
Irene Ovadia Patricia Latorre
Julin Tagle Diego Sanchez
Seleccin Work In Progress (WIP) Deborah Rapoport
Asistente Tcnicos de Sala DCP Agustina Costa Varsi Jorge Ribezuk
Natalia Ardissone Martin Benjamin Brbara Francisco Paola Romann
Sofa Carmona Valeria Biglier Nicols Grosso Luca Rosa
Subtitulado Florencia Cammillieri Carina Stanzione
Roman Elena Sheila Dempsey REA PROFESIONAL
Trnsito Interno Natalia Failde Coordinacin RECEPCIN
Pablo Compagno Georgina Giribaldi Michelle Jacques Toriglia Claudia Klappenbach
Asistencia Jesica Jaimes Asistencia
Ral Fernandez Daniel Silva Irene Ovadia SISTEMAS
Postproduccin Grilla Equipo Eduardo Desanze
Natalia Bianchi Mercedes Arias Yadira Dez
Proyectoristas Gua del rea Profesional
Julieta Alsina TRNSITO INTERNACIONAL Correccin
Lucio Arana DE COPIAS Gabriela Beraj
Brian Bendersky Lionel Braverman Traduccin
Santiago Bilardo Mirna Correa Juan Pablo Martnez

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 9

NDICE / INDEX 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

10 [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 E: Edicin M: Msica CP: Compaa prodcutora

Director Editing Music Production Company
G: Guion DA: Direccin de arte P: Produccin I: Intrpretes / Cast
Scriptwriter Production Design Producer DCP: Paquete de Cine Digital
F: Fotografa S: Sonido PE: Produccin ejecutiva Digital Cinema Package
Cinematography Sound Executive Production DM: Archivo Digital
Digital Media

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 11


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.
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 progra-
m toda su filmografa posterior. Su obra tiene un sello autoral
inconfundible. Los encuadres, la manera de hablar de los per-
sonajes, 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 encua-
dres 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 ca-
bal de un artista con personalidad y en pleno uso de su talento.
Javier Porta Fouz
EUGNE GREEN
Naci en 1947 en Nueva York, pero se mud a Pars para estudiar lite-
ratura, 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
FUNCIN DE APERTURA / OPENING NIGHT
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 has been known at Bafici for more than a decade.
His second feature, The Living World, was part of the Interna-
tional 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 be-
tween different periods in time from the present. In Le Fils de
Joseph, Green evokes the biblical tale in order to deliver a mas-
terful, 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
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
13

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.
Hay que entender una cosa: para Don Cheadle, que acta, es-
cribe, 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 fascina-
cin lleva no solo a que Cheadle sea Miles, con su carrasposa
coolness de dios del Olimpo sin dinero para la coca, sino tam-
bin 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 ments, real events from the jazz musicians life (social mu-
esa ficcin, en la que el Robin es Ewan McGregor (qu bien le
quedan los setenta!), Cheadle crea una milesploitation enamo-
rada, entre salvaje, sentida y borracha, que nunca osa entender
al gigante. Juan Manuel Domnguez
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
FUNCIN DE CLAUSURA / CLOSING NIGHT
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.
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 af-
ford coke; it also leads him to create a fiction of shootouts and
chases from which he covers, with picturesque visual move-
sic, 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
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
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, Leo-
nardo 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 ap-
peared 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 Avant-
Garde & 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 produc-
tion 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 experi-
mentales, 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 vicepre-
sidente del Cineclub Ushuaia. Tras recibirse de montajista en la ENERC, trabaj en varios pro-
ductos 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 maga-
zine 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 exhibi-
cin 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 exhibi-
tion 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 documen-
taries 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 edi-
cin 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 largome-
traje, 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 Actua-
cin 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 fea-
ture, 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, estre-
nado 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 environ-
ments 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. Ac-
tualmente 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 Guer-
schuny; 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 /
Argentine Film Reviewers Association) International Federation of Film Critic)
Guillermo Courau Federico Karstulovich (Argentina)
Carlota Mosegu (Espaa / Spain)
Daniel Cholakian
Ral Ortiz-Mory (Per)
Javier Luzi
SAE + EDA
ADF
(Sociedad Argentina de Editores Audiovisuales + Asociacin
(Asociacin Argentina de Autores de Fotografa Argentina de Editores Audiovisuales / Argentine Society of
Cinematogrfica / Argentine Association of Cinematographers) Audiovisual Editors + Argentine Association of Audiovisual
Rogelio Chomnalez Editors)
Diego Roblado Leandro Aste
Diego Russo Csar Custodio Santos
Anabela Latanzio
FEISAL
SIGNIS
(Federacin de Escuelas de Imagen y Sonido de Latinoamrica /
(Asociacin Catlica Mundial para la Comunicacin /
Image and Sound Schools Federation of Latin America) World Catholic Association for Communication)
Aldo Paparella Miguel ngel Agero (Paraguay)
Dolly Pussi Florencia Raggi (Argentina)
Marcelo Trotta 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 direc-
tores 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 Juan Villegas Vernica Chen Gastn Solnicki

Cristian Bernard Sbado (2001) Agua (2006) Sden (2008)
76 89 03 (2000) 3 Bafici
8 Bafici 10 Bafici
2 Bafici
Celina Murga
Ana y los otros (2003) Santiago Giralt, Tamae
Rodrigo Moreno, Ivn Fund y
5 Bafici Garateguy y Camila Toker
Ulises Rosell y Santiago Loza
UPA! Una pelcula
Andrs Tamborino Martn Rejtman Los labios (2010)
Los guantes mgicos argentina (2007)
El descanso (2001) 12 Bafici
3 Bafici (2003) 9 Bafici
6 Bafici

Gabriel Medina Fabin Bielinsky

Rodrigo Moscoso Ana Poliak
Modelo 73 (2001) Parapalos (2004) Los paranoicos (2008) Nueve reinas (2000)
3 Bafici 6 Bafici 10 Bafici 18 Bafici

26 [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 bus-
cadas por los militares. Ahora tiene la posibilidad de salvarlas,
aunque eso implica arriesgar su propia vida.
Esta es una pelcula sobre decisiones bajo presin, una presin
ambiente estable, slida, que se mete en la piel, en la respira-
cin. 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 pe-
lcula 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 peo-
ple who are being searched by the military. Now he has the
chance to save them, although that means risking his own life.
This is a film about decisions under pressure, an ambient pres-
sure 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 ap-
proach 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
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

LA NOCHE
The Night
Un camino vertiginoso, infinito y nico por todos los reveses
nocturnos. Sexo, drogas y bebidas se alternan entre encuen-
tro y encuentro, creando un continuado sin tapujos, frente a
una cmara tan curiosa como audaz, que se atreve a reco-
rrerlo todo.
Extraordinaria en el sentido estricto del trmino, La noche exhi-
be 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
EDGARDO CASTRO
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
A vertiginous, infinite and unique walk through every nighttime
setback. Sex, drugs and drinking alternate between encoun-
ter and encounter, creating a above-board follow-on in front
of a camera as curious as it is audacious, that dares to cover
everything.
Extraordinary in the strictest sense of the term, La noche dis-
plays 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 modes-
ty, or maybe for lack of courage. The camera glued to the body,
out-of-focus shots and ambient sound shape an impious jour-
ney whose destination could be the brief encounter with ones
own ghosts, without no epiphanies or moral commentary. DO
Argentina, 2016 / 135 / DCP / Color / Espaol - Spanish
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
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.
Sergio Wolf vuelve al territorio inasible de su primera pelcula (Yo
no s qu me han hecho tus ojos) con una delicadeza y una gra-
cia que resultan tan estimulantes como poco habituales. Vivir
en tu recuerdo gira en torno a una obsesin: una escena sin so-
nido descartada de aquella pelcula se convierte en el motor de
esta nueva incursin del director en la vida secreta de Ada Fal-
cn, 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 po-
sibilidades 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
Nacido en Buenos Aires en 1963, estudi comunicacin en la UBA. Diri-
gi 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 trilogy Ritos de frontera (2002) with
Alejo Taube and, by himself, The Color Out of Space. He was a program-
mer at Bafici between 2005 and 2007, and its artistic director between
2008 and 2012.
30 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 returns to the unattainable territory of his first film
(I Dont Know What Your Eves Have Done To Me) with a deli-
cacy 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
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

GIRL ASLEEP
Chica dormida
Greta est por cumplir 15 aos y no soporta dejar atrs su ni-
ez. Pero despus de su fiesta deber encontrarse a s misma
en un mundo incomprensible, ertico y un poco violento.
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. Ac-
tores (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, mi-
lagrosamente delicada y sutilmente profunda, al coming of age
ms extraordinario que van a ver este ao. Agustn Masaedo
ROSEMARY MYERS
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
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.
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
Australia, 2015 / 77 / DCP / Color / Ingls - English
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
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.
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 fi-
nalmente regresar a ese territorio sin Estado que orgullosamen-
te 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 atrac-
tivos 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 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 terri-
tory 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 cam-
era keeps recording. MA
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

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 sa-
lud. Cuando a ella le diagnostican cncer, sus vidas se convier-
ten en una carrera para ver quin morir primero.
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 coc-
cin para desarrollar una pelcula en la que los personajes im-
portan, 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
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 Insti-
tute. In 2005, Nada insoluble, his thesis film, won a number of awards
and was selected for the Venice Film Festival.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
The film explores the complex relationship between a moth-
er 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.
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 in-
tensities, 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 emo-
tions, and stands as a unique sentimental black comedy. JPF
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
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 sue-
os parecen exhibir un poder narctico. Basada en el cuento
annimo de 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 be-
lleza 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 ra-
se 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 per-
plejidad suprema. David Obarrio
RODRIGO LIMA
Naci en Ro de Janeiro en 1975 y se gradu como periodista. Comen-
z 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 per-
tinent 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
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

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 roc-
kero. Cuando llega se entera de que l ha desaparecido mien-
tras filmaba un videoclip en un misterioso bosque japons.
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 ha-
cer 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, per-
sonas que desaparecen sin dejar huella, caminatas entre paisa-
jes 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
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 Univer-
sity of New York and worked as an actress in several films and TV series.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
A film starring the beautiful Dree Hemingway and Pamela An-
derson 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 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 refer-
ence. 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
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
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.
No descubrimos la plvora si afirmamos que el universo para-
lelo de los festivales de cine ha entrado en un proceso de auto-
complacencia 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 ex-
cesivas: muerte, destruccin, deseo, traumas, mentiras, locura,
sumisin, a lo que se suma una pareja protagnica en estado de
gracia. Melodrama arrebatador y autodestructivo, Communica-
tion 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
LEE SEUNG-WON
Dirigi varias obras de teatro y musicales. Este es su debut como reali-
zador cinematogrfico.
He directed many plays and musicals. This is his debut as a filmmaker.
36 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Were not really inventing the wheel if we say the parallel uni-
verse 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 con-
stantly 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
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

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.
La bsqueda de un departamento con techos altos, el encuen-
tro 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 pron-
to 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
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.
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
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
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.
En los momentos en que el reino de lo humano me parece
condenado a la pesadez, pienso que debera volar como Per-
seo 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 par-
que. 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
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 Film-
making and directed Ivn Z (2005), Paralelo 10 (2005), and Color perro
que huye (2011).
38 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 affirma-
tion 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
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

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.
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 dca-
das participando, Seoane logra en Verengo reconstruir (quizs
deberamos decir inventar) un mundo en el que refugiarse del
implacable paso del tiempo. Fran Gayo
VCTOR HUGO SEOANE
Naci en Vigo, Espaa, en 1982. Es licenciado en Comunicacin Audio-
visual 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 Commu-
nication and Humanities. He directed the short films Na distancia (2008),
El vaivn (2019), O tempo dos nenos (2010) and Do voltar (2014).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
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.
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
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
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.
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 agra-
dables en sus filas (menos entre los hombres); sin embargo, al
tiempo que se convierten en monstruos ms o menos atemo-
rizantes delante del espectador, todos parecen perdidos, desti-
nados 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 pe-
lcula distinguida y feroz. David Obarrio
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).
40 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
An inventor creates a pair of augmented reality glasses, which
he uses to build an avatar of his best friends girlfriend. Natu-
rally, her technological fantasy turns against him.
Creative Control is an acid comedy with rough martian features,
hipsters as protagonists shot in black and white, and an unex-
pected melancholic charge that seems to be spread on it with
all the love in the world. The film even takes the liberty to fea-
ture 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
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

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.
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
RUDI ROSENBERG
Naci en Francia en 1979. Trabaj como actor en numerosos largome-
trajes 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
COMPETENCIA OFICIAL INTERNACIONAL
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 school-
mate find his first love and get drunk with non-alcoholic beer.
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
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
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.
En los aos treinta, el musiclogo Robert Lachmann afirm a
travs de su programa de radio que las fronteras entre la msi-
ca rabe y juda son artificiales. Ocho dcadas despus, Juma-
na 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, samarita-
nos o beduinos que cruzan las reinterpretaciones de esas pie-
zas 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Crossing documentary and fiction, Manna explores the dif-
ferent 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.
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
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

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 aban-
donando 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.
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 latinoame-
ricano. 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 posibilida-
des 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
COMPETENCIA OFICIAL INTERNACIONAL
The routine of Rosa Chumbe will be altered when her 18-year-
old daughter steels the few savings she had and leaves the
house, abandoning her son. This incident will lead Rosa to fol-
low the steps of the Lord of Miracles, while getting lost amidst
incense smoke and the fervor of procession.
Far from the over-used format of few themes, few tones, few
incidents, and a small margin of error, Jonatan Relayze Chi-
ang 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 dis-
solve 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
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
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 ru-
tina darn un giro cuando la joven visite la exposicin de un
nuevo vecino en el centro de la comunidad local.
Nada de lo que nos ofrece esta pelcula va por los carriles que
imaginamos ante el esqueleto argumental. Joo Nicolau des-
pliega varias lneas que se van fortaleciendo en una singular si-
nergia: el seguimiento de Rita (encuadres y ngulos que realzan
la belleza fulgurante de Jlia Palha), la acumulacin de peque-
os 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 en-
cantadoras. 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
What this film offers has nothing to do with what we would
imagine from the plot outline. Joo Nicolau puts different story-
lines 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 ec-
centricity of John From confirms us that one can tell well-known
stories and rarefy them not to turn them into something inac-
cessible, 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
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

ILLEGITIMATE
Ilegitim
Ilegtimo
Un comentario disparado en medio de un almuerzo desem-
boca en una severa discusin familiar que parece socavar la
confianza de los participantes de modo irreversible.
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 per-
sonajes 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 realis-
mo son la base de una comedia negra que no tiene miedo de
hacer volar todo por los aires. Javier Porta Fouz
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
FUERA DE COMPETENCIA - OUT OF COMPETITION
COMPETENCIA OFICIAL INTERNACIONAL
A comment in the middle of lunch leads to a severe family
argument that seems to sabotage its members trust irre-
versibly.
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 incred-
ibly violent war that changes its direction, with each side alter-
natively 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
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
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.
El relato de una campaa electoral, y de otra ms. Protago-
nistas: msicos y polticos. Rap, hip hop y consignas contra la
reeleccin indefinida. Senegal, un pas con mayora de pobla-
cin 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. Manifestacio-
nes, 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 ex-
traordinaria. 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
The account of an election campaign, and another one. The
protagonists: musicians and politicians. Rap, hip hop and slo-
gans 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. Demonstra-
tions, 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 real-
ity a film full of future and, in its own way, also optimistic. JPF
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

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.
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 rela-
cin. 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
MOHAMED BEN ATTIA
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL INTERNACIONAL
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.
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 fam-
ilies, 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
Tnez / Blgica / Francia / Qatar / Emiratos rabes Unidos -
Tunisia / Belgium / France / Qatar / UAE, 2016 / 89 / DCP /
Color / rabe - Arabic
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
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.
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 recientemen-
te 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 varia-
dos 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 aproxi-
macin al poder de evocacin de las imgenes. David Obarrio
EDUARDO CRESPO
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
After the death of his father, Eduardo Crespo decides to trav-
el 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 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 mov-
ing piece of filial love and a poetic investigation on the evocating
power of images. DO
Argentina, 2016 / 65 / DCP / Color & B&N / Espaol - Spanish
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

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 di-
ferentes puntos de vista para obtener otra mirada del caso
que conmovi a un pueblo.
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 aten-
tos tanto a los detalles del paisaje como a lo que dicen sus
entrevistados del cine argentino reciente. Crimen de Las Sali-
nas trasciende la crnica policial para armar, aunque en el film
siempre sea de da, el retrato inquietante de no pocas oscurida-
des. Agustn Masaedo
LUCAS DISTFANO
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 Insti-
tuto 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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.
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, Dist-
fano 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
Argentina, 2016 / 63 / DCP / Color / Espaol - Spanish
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
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, Ma-
riana, disfruta del invierno mientras divide sus das entre los
exmenes universitarios, dealers de drogas duras, azarosos
reencuentros con parejas amigas y un nuevo novio.
Libreras, desgrabaciones de charlas, ediciones y presentacio-
nes 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 con-
versaciones y conversaciones sobre conversaciones. Malena
Solarz y Nicols Zukerfeld encontraron un singular tono de ca-
lidez nada invasiva para hacer este retrato mltiple, tan alejado
de las estridencias como indeclinablemente narrativo. Javier
Porta Fouz
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Bookstores, conference transcripts, book editions and presenta-
tions, commentaries on newspaper articles, cell phone sales,
parties. A film with a Nouvelle Vague texture, featuring the Bue-
nos Aires scene of young people with jobs in film, literature, and
journalism. Its title is a sarcastic announcement of its perspec-
tive, which stays at a distance while shows a thorough knowl-
edge 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
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

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 pel-
cula documenta su regreso a Buenos Aires en 2013 para filmar
su ltima pelcula, El cielo del centauro.
Hugo Santiago es un director real, que incluso present su pel-
cula El cielo del centauro en la apertura del Bafici pasado. Pero,
a la vez, es un director mtico; el que tuvo de guionistas a Bor-
ges, 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 cons-
tante 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 sen-
tida declaracin de amor a Buenos Aires y piensa cmo contar
esta y otras historias porteas. Javier Porta Fouz
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 filmmak-
ing. He directed the film Barroco (2013).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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 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 ref-
erences, admirations, maps, constant thinking about cinema
a particularly brilliant text by David Oubia and a constant
positioning of Santiago as a cinematographic father with cha-
risma 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
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
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 Ar-
gentina 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 in-
fatuado 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, pr-
didas 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 pro-
duccin 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 movi-
miento 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 Ar-
gentina 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

HIERBA
Cuatro personajes sobre la hierba evocan, a modo de calco,
a la clebre pintura de Manet. Homenajeando al cine silen-
te, Ral Perrone realiza una indagacin sobre las posibili-
dades del deseo.
La que quiz sea la apuesta ms radical de Perrone es tam-
bin 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 li-
bertad, 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 asom-
bro e ingenuidad que se desprenden de Hierba sugieren que la
maestra del director es inagotable. David Obarrio
RAL PERRONE
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA OFICIAL ARGENTINA
Four characters lying in the grass evoke Manets famous
painting. In this homage to silent film, Ral Perrone inquires
into the possibilities of desire.
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 oscil-
late between notions of freedom, veiled desire and gentle love
mounted on a dispensary of images and attitudes form late-19 th
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 amaze-
ment and naivet in Hierba suggest that the directors mastery
is inexhaustible. DO
Argentina, 2015 / 65 / DCP / Color / Espaol - Spanish
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
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 incons-
ciente colectivo de una generacin de jvenes madrynenses.
Situada en Puerto Madryn y lejos del avistaje de ballenas, esta
pera prima presenta a una generacin joven y lugarea bas-
tante desprogramada, viviendo el da a da, y sin mucho pro-
yecto por delante. Con un casting que combina actores profe-
sionales 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Set in Puerto Madryn and far from whale watches, this first fea-
ture presents a carefree generation of locals living the day-to-
day, without many projects ahead of them. With a cast that com-
bines professional and non-professional actors, the film, which
stands out for the way its directed, tells of the different interper-
sonal relationships among a group of friends: their romances,
jealousy, competitiveness, courtships, fights and disappoint-
ments, 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
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

LAS LINDAS
The Pretty Ones
Melisa y sus amigas debaten acerca de lo que implica ser mu-
jer. 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.
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. Apa-
rece 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
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 current-
ly 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA OFICIAL ARGENTINA
Melisa and her friends debate on what means to be a woman.
But these stories contrast to the director and protagonists, re-
constructed from the personal archive footage that distort the
genres mandates and prohibitions with humor.
On her first film, Melisa Liebenthal throws in her personal ar-
chive of pictures and videos from childhood and adolescence,
in order to review it from the present day through a gender per-
spective. With a good sense of humour, the film features an
acute and critical view of the behaviours and relationships with-
in 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 ac-
cording 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
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
57
PREMIERE MUNDIAL / WORLD PREMIERE
ARGENTINE OFFICIAL COMPETITION
MI LTIMO FRACASO
My Last Failure
Cecilia, una joven coreano-argentina, est realizando un do-
cumental. A partir de su relacin con sus amigas coreanas, ir
descubriendo de qu manera las distintas identidades cultu-
rales determinan la vida de las personas en su aspecto ms
ntimo: sus relaciones sentimentales.
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 ar-
gentina 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 eman-
cipacin, 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
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).
58 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
There are many films piercing through Cecilia Kings first fea-
ture; theres a film about a family (her sister, her mother, her
aunt, her grandmother) Theres also one about being an Ar-
gentinian 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, heart-
break, creativity. And none of these storylines drives us to a feel-
ing 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
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

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.
Panke podra constituir una breve oda a la supervivencia, una
filigrana rebosante de pudor y concentracin sobre la melanco-
la 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 des-
conocida, 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 postula-
dos 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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 could stand as a brief ode to survival; a very care-
ful 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
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
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 des-
cubre el amor en una joven compaera de su clase de poesa
y vive su primera desilusin amorosa.
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 ac-
trices, incluso hijos. Pero Primavera, desde su nombre, prome-
te 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 con-
flicto 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
SANTIAGO GIRALT
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Alone or as part of a group, Santiago Giralt has a special prefer-
ence for actors; not only as part of his films, but also because
hes interested in acting and rehearsals as subjects. In Prima-
vera, 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 ac-
tors 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 with-
out 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
Argentina, 2016 / 86 / DCP / Color / Espaol - Spanish
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

PRIMERO ENERO
January
Recientemente divorciado, Jorge prepara la ltima visita a la
casa de las sierras antes de ponerla en venta. All planea com-
partir junto a su hijo Valentino una tradicin familiar. Pero las
diferencias entre padre e hijo ponen en jaque su estada.
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 pe-
lcula 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
DARO MASCAMBRONI
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 stud-
ies, 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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 differ-
ences between father and son will threaten their stay.
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 deli-
cate 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, al-
though 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
Argentina, 2016 / 65 / DCP / Color / Espaol - Spanish
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
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 po-
sibilidad de cambiar su vida y su trabajo y conocer a la mujer
de sus sueos.
Cuando su psicoanalista le sugiere que anote todo lo que pien-
sa, 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 apa-
ratosa 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 de-
sarrollado 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
SERGIO CORACH
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.
62 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 in-
ner 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
Argentina, 2016 / 77 / DCP / Color & B&N / Espaol - Spanish
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

RADOS
Frayed
Los barrios que rodean la ciudad de Montecarlo, en la provin-
cia de Misiones, estn poblados casi enteramente por familias
cosechadoras de hojas de yerba mate, conocidos como tare-
feros. 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 pro-
vincia 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 convencionali-
dad 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 me-
ras 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 post-
production for film and TV.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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 conven-
tional 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
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.
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 inter-
mediarios; el director asume que es mejor aceptar que oponer
resistencia, y en ese pase de manos en el que parecieran con-
fabularse tanto el azar como las buenas decisiones es donde se
despliega una pelcula que se vuelve nica. Magdalena Arau
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).
64 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 portrays a child prodigy from the new age world who pub-
lished 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
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

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 exhi-
ben una libertad ldica, como si fueran nios en una colonia
de vacaciones.
Con sus pelculas en solitario, Berger y Farina haban demos-
trado 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 abra-
zan al borde de la pileta, se exhiben en calzoncillos, se trenzan
en lucha amistosa, se miden: esos son los movimientos visi-
bles 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
MARCO BERGER
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA OFICIAL ARGENTINA
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 free-
dom, as though they were kids at summer camp.
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, get-
ting into friendly fights, measuring each other: those are the
visible movements in the choreography carried out by Tae-
kwondo. 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
Argentina, 2016 / 105 / DM / Color / Espaol - Spanish
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
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. Enton-
ces, el enamorado emprende una bsqueda desesperada para
reencontrarse con su objeto de deseo.
Un chico conoce fugazmente a otro en una fiesta y, luego de un
rapto de enamoramiento, lo pierde de vista. Empieza la bsque-
da, 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 girl-
friend 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 ex-
ists between the boy who is searching and the one who we can
conclude is escaping. MA
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

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.
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 determina-
cin 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 bus-
cavidas 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
MAURO ANDRIZZI
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
Two scoundrels wander through the strange city, without a
family or a home, making a living and fantasizing about a
stroke of luck.
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 sug-
gest 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
Argentina / China, 2016 / 70 / DCP / Mandarn
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
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 What remains of our lives after were gone? Thats the ques-
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.
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
NIKOLAUS GEYRHALTER
Naci en Viena, Austria, en 1972. A los 22 aos fund la compaa Niko-
laus 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 docu-
mentaries and fictions. His documentaries as a filmmaker include Pripyat
(1999), Elsewhere (2001), 7915 Km (2008), Abendland (2011), and Over
the Years (Bafici 15).
70 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
tion posed by this film, which explores the finiteness and frailty
of human existence from a possible apocalyptic future.
The director of Over the Years (which was also part of the Berli-
nales 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 fac-
tories, highways where weeds grow and theaters in ruins con-
verse 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 Ming-
liang films and post-apocalyptic fiction. FEJL
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

VINTAGE PRINT
Estampado antiguo
Una fotografa vieja constituye el punto de partida de esta ex-
ploracin. La imagen data de fines del siglo XIX y, mediante
ella, el cineasta austraco nos traslada al epicentro de la natu-
raleza cinematogrfica.
Como un Santiago lvarez al cuadrado (al 4K, ms precisamen-
te), Siegfried A. Fruhauf descendiente de la Gran Generacin
austraca de Tscherkassky, Deutsch y Arnold redefine con Vin-
tage Print la potencialidad del cine en tanto imaginacin puesta
al servicio de una economa de recursos asombrosa. Si el pio-
nero 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
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 Indus-
trial 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 Indus-
trial Design in Linz. He directed several plays and shows in the areas of
film, video and photography.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
An old photograph works as the starting point of this explora-
tion. The image dates from the late-19th Century, and through
it, the Austrian filmmaker transports as to the epicenter of cin-
ematic nature.
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 rede-
fines 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 cre-
ating thirteen hyperkinetic minutes out of a single, century-old
glass negative in decomposition. Ranging from figurative to ab-
stract 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
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
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.
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 he-
chos 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
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.
72 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Its not that important that The Death of J.P. Cuenca settles for
the referential, or that the episode about the directors iden-
tity 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 ten-
sion. 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
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

BOI NEON
Neon Bull
Toro Nen
Iremar trabaja en las vaquejadas, el tradicional rodeo del no-
roeste 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.
Situado en el noreste de Brasil, este film galardonado en el lti-
mo Festival de Venecia hace foco en el mundo de las vaqueja-
das, 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 ma-
nera 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 con-
ducirn a un desenlace deslumbrante. Violeta Bava
GABRIEL MASCARO
Naci en Brasil en 1983, y se gradu en comunicacin social en la Univer-
sidad 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
COMPETENCIA VANGUARDIA Y GNERO
Iremar works in the vaquejadas, the traditional rodeo of north-
west Brazil. But the country is changing, and the flourishing
textile industry sprouts new ambitions in him, as he starts
dreaming of fashion design.
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 pre-
cision 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
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
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 ni-
os, Flix est terminando su ao escolar en un barrio aparen-
temente tranquilo. Poco a poco, sus demonios imaginarios co-
mienzan a reflejar los de la perturbadora realidad que lo rodea.
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 proce-
so 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. Mien-
tras 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
While a wave of child kidnappings takes place in Montreal, Fe-
lix is finishing his school year in an apparently quiet neighbor-
hood. Slowly, his imaginary demons start to reflect the ones
present in the disturbing reality around him.
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 dis-
covering 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 liber-
ating as getting a fear (and a psycopath) out of your system. DA

PHILIPPE LESAGE
Naci en Canad y se desempe como profesor de cine en Dinamarca.
Es conocido por sus documentales y su largometraje de ficcin Copenha-
gue: 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.
Canad - Canada, 2015 / 118 / DCP / Color / Francs - French
D, G: Philippe Lesage F: Nicolas Canniccioni E: Mathieu Bouchard-
Malo 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


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 reproducir-
se asexualmente y los hombres se han vuelto intiles para la
sociedad. Las cosas se complican cuando la poblacin mascu-
lina decide que es tiempo de organizar una rebelin.
Una pelcula especulativa a partir de una premisa extrema: el
fin de los hombres; no de la humanidad, sino del gnero mas-
culino. 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 inmediatamen-
te 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 (po-
cos) hombres y (muchas) mujeres desde hace dcadas. Javier
Porta Fouz
MARK SAWERS
Naci en Vancouver, Canad. Cre numerosos proyectos para cine y tele-
visin, 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 proj-
ects, 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
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 de-
cides its time to organize a rebellion.
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 sex-
es, 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
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
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.
Protagonista, director, guionista y aventurero de cada secuen-
cia, Yue Song est en llamas de principio a fin. Esta es una
pelcula de superaccin, una pelcula de kung-fu en modo iri-
discente 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 cine-
filia, que procesa sus influencias Titanic, James Bond, Kill Bill
y el melodrama ms superficial e hiperblico a velocidad de-
mencial 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 acostum-
brados a la accin en el cine, estn a punto de experimentar un
nuevo comienzo. Javier Porta Fouz
YUE SONG
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).
76 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Protagonist, director, screenwriter and adventurer of every se-
quence, 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 influ-
ences 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
China / Hong Kong, 2016 / 90 / DCP / Color / Mandarn
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

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 factu-
ras de su marido en estado vegetativo. Pero, a pesar de su gran
esfuerzo, el marido parece condenado a no despertar nunca.
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 incen-
dios 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 ade-
lante 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
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.
A heroine of disgrace, Soo-nam pursues small goals with huge
amounts of bloodshed. Life forced her to that unbalanced situa-
tion 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
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
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 patolgica-
mente 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.
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
LOS DIRECTORES / THE DIRECTORS
Juan Cavestany: Naci en Madrid en 1957. Dirigi varios cortos y
largometrajes, como Gente en sitios (2013; Bafici 14). Julin Gnis-
son: 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
If theres one element that connects the cinema of Juan Caves-
tany, Julin Gnisson, and Pablo Hernando that is their fondness
with lifting up the cities they depict in their films through un-
populated, semi-deserted spaces, places where theres always
an unfinished project to build something. Service areas, waste-
lands, 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
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

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 cau-
tivas dentro de unas cuevas canbales.
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), ningu-
no es polticamente correcto y ambos beben del western clase B
ms que de los grandes clsicos del gnero. Pero la primera pe-
lcula 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
COMPETENCIA VANGUARDIA Y GNERO
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.
Zahlers first feature has a lot in common with Quentin Taran-
tinos 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 politi-
cally 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
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
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.
Estos actos solitarios se ejecutan contra toda esperanza, pero
sobre todo contra todo intento de vulnerar eso que, con las pre-
venciones del caso, podemos llamar autonoma. Una mujer se
masturba, besa su reflejo en el espejo, o masturba a un com-
paero. Las imgenes muestran manos y genitales en primer
plano debajo de un rayado discontinuo y una irrupcin parpa-
deante 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
NAZLI 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 re-
sponsibility 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
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

SOMETHING BETWEEN US
Algo entre nosotros
La cineasta experimental ha creado un estudio del movi-
miento; una coreografa de luz y fantasa que no posee ni
un solo fotograma animado, y en el que arcoris y diamantes
llenan la pantalla.
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
JODIE MACK
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 actual-
mente 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
The experimental filmmaker has created a study in move-
ment; a choreography of light and fantasy that doesnt have
a single animated frame, and in which the rainbow and dia-
monds fill the screen.
One of Stan Brakhages great films, The Text of Light, is an in-
vestigation 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 gem-
stones 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
Estados Unidos - US, 2015 / 10 / 16mm / Color
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
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.
Cineasta de la intensidad, de los cuerpos y de las sombras,
Grandrieux extrema aqu las caractersticas de su estilo expre-
sionista, 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 conten-
cin que no sea la necesidad de llegar al lmite. Bon voyage.
Jons Zabala
PHILIPPE GRANDRIEUX
Naci en Francia en 1954. Estudi cine en el Instituto Nacional Superior
de Artes del Espectculo en Bruselas y realiz su primera videoinsta-
lacin 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 instal-
lation 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 un-
derstood 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 manipula-
tion by its orphan characters, who lack any kind of stability and
are always on the edge. Bon voyage. JZ
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

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.
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 mu-
sicales 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
MANI HAGHIGHI
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 includ-
ing Paziraie Zadeh (2012), and starred in Melbourne (2014).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
FUERA DE COMPETENCIA - OUT OF COMPETITION
COMPETENCIA VANGUARDIA Y GNERO
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.
According to the legend, a sound technician suddenly dis-
appeared 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 an-
nounced 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
Irn - Iran, 2016 / 108 / DCP / Color / Persa - Farsi
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
83
AVANT-GARDE & GENRE COMPETITION
DEMON
Demonio
Inspirada en una leyenda de origen judo (el dybbuk), la aterra-
dora Demon narra la historia de un joven que visita la ciudad na-
tal de su futura esposa. Como regalo de bodas, reciben un terre-
no para construir su casa, pero desconocen que, debajo de los
cimientos de su nueva propiedad, se ocultan restos humanos.
Como lo demostraba el ltimo y mejor episodio de Relatos sal-
vajes, 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 invita-
dos, 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
MARCIN WRONA
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 Amster-
dam. He directed My Flesh, My Blood (2009) and The Christening (2010).
He died in 2015.
84 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 re-
mains rest beneath the foundations of their new property.
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, drunk-
enness, 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 un-
fathomable siege that is yet concrete, dangerous, and progres-
sively distressing. Horror and possession stand as a possibil-
ity, 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
Polonia / Israel - Poland / Israel, 2015 / 94 / DCP / Color
Polaco / Ingls / Yiddish - Polish / English / Yiddish
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

Foto / Photo: Robert Palka
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 fanta-
sa. Msica estridente, luces de nen y brillantes lentejuelas.
Silver y Gold son dueas de una belleza sobrenatural. Literal-
mente sobrenatural: son sirenas; ejemplares nicos, peligro-
samente 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 espa-
cio-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 tarda-
rn 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
AGNIESZKA SMOCZYNSKA
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 televi-
sion at the Krzysztof Kieslowski University.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
Two mermaids join a band of musicians linked to the world
of dance in 80s Warsaw. Strident music, neon lights and
sparkling sequin.
Silver and Gold have a supernatural beauty. Its literally super-
natural: 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. Liv-
ing 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
Polonia - Poland, 2015 / 92 / DCP / Color / Polaco - Polish
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
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 reen-
cuentro con los ardores de una relacin propia, sobre la que
escribi su primer libro.
Este cortometraje de Mozos, ciertamente un caso distinguido
de belleza y misterio, produce una extraa aleacin entre lite-
ratura y cine, no como si se tratara de dos disciplinas donde
una se ve vampirizada por la otra, sino como si fueran las ca-
ras 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 mien-
tras 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 pel-
cula singular, construida con todo el refinamiento del mundo,
parecen destinadas a constituir el fin ltimo del cine, y su afn
ms perdurable. David Obarrio
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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
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

MARIA DO MAR
En una casa de campo, dos hermanos y un grupo de amigos
veinteaeros se ven sorprendidos por una inesperada presen-
cia femenina. El joven Nicolau observa todo con la fascinacin
de un outsider y el encanto de quien vive un momento nico
e irrepetible.
Ese punto exacto, ese fulgor del enamoramiento de aquel vera-
no pasado, de esa poca en que todo era presente y futuro. Ese
punto exacto lo encuentra Joo Rosas en Maria do Mar, la pel-
cula, 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 grande-
za 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
JOO ROSAS
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 docu-
mentary Birth of a City (2009).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
COMPETENCIA VANGUARDIA Y GNERO
Two brothers and a group of friends in their twenties are sur-
prised 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.
That exact point, the brightness of a love affair from last sum-
mer, 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 cin-
ema. 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
Portugal, 2015 / 35 / DCP / Color / Portugus - Portuguese
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
87
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 audiovi-
sual sobre la memoria y la muerte.
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 ce-
luloide 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, conmo-
vedora: como la mismsima memoria. Agustn Masaedo
ROSS SUTHERLAND
Naci en Edimburgo en 1979. Tiene cuatro libros de poemas y es miem-
bro 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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. Re-
winding, 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
Reino Unido - UK, 2015 / 65 / DCP / Color / Ingls - English
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

Foto / Photo: Wolfgang Lehmann
TRACES OF GARDEN
Huellas de jardn
Una relacin potica entre colores, formas y movimiento. Im-
genes 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.
Si el anterior film de Wolfgang Lehmann, el mosaico estrobos-
cpico Drangonflies with Bird and Snake, supona un tour de
force para la retina del espectador ms aguerrido, llama la aten-
cin 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 sende-
ro 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
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.
Since Wolfgang Lehmanns previous film, the stroboscopic mo-
saic 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
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
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 afue-
ras de la ciudad, pero en el camino descubren un mundo fan-
tasmagrico y ms peligroso de lo que pensaban.
El arte de filmar a las personas como si fueran apariciones so-
brenaturales 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 (ape-
nas 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 to kill people here?, one of the protagonists points out in front
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
PIMPAKA TOWIRA
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.
90 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
The art of filming people as though they were supernatural ap-
paritions 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, Mus-
lim temples, women with chador. Did you know that they used
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
Tailandia - Thailand, 2015 / 105 / DCP / Color / Tailands - Thai
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

LE MOULIN
Ri Yao Ri Shi San Buzhe
Poesa, literatura, pintura y cine convergen en este lrico ensa-
yo 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.
Hay gestos elevados tan decididos como breves y condena-
dos al fracaso. Tratar de refrenar el colonialismo japons en
el Taiwn de los aos treinta puede ser uno. Encarar esa re-
sistencia 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
HUANG YA-LI
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMPETENCIA VANGUARDIA Y GNERO
Poetry, literature, painting and film converge in this lyrical film
essay about the Taiwanese poets who protested against Ja-
pans cultural superiority and the predominance of realism in
poetry during the 30s.
Some elevated gestures are just as determined as they are brief
and doomed to failure. Trying to fight back Japanese colonial-
ism 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 gigan-
tism: 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
Taiwn - Taiwan, 2015 / 162 / DCP / Color & B&N
Japons / Mandarn - Japanese / Mandarin
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
91
PREMIERE LATINOAMERICANA / LATAM PREMIERE
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.
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 ase-
sinos 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) ectopls-
mico est a cargo de una psquica con facilidad para la pose-
sin, 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
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.
92 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Cortesa de / Courtesy of Ablaze Images Ltd
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.
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 cin-
emas capacity for surprise, which we were starting to miss. AM
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
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 ma-
yor que se encuentra en estado vegetativo. Intentando sobre-
vivir 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.
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 li-
diar 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
ROBERTO DOVERIS
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.
94 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Florencia is 17 years old, and she must take care of her broth-
er, 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.
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 sur-
rounded 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 lan-
guishes 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
Chile, 2015 / 90 / DM / Color / Espaol - Spanish
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

COMPETENCIA OFICIAL LATINOAMERICANA
LAS CALLES
The Streets
En Puerto Pirmides las calles no tienen nombre. Julia, maes-
tra 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.
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 respon-
sables 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 sostie-
ne 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
MARA APARICIO
Naci en Crdoba, Argentina, en 1992, y estudi cine y televisin en la
Universidad Nacional de Crdoba. Desde el ao 2011 integra la produc-
tora Vientosur Cine, establecida en la ciudad de Crdoba.
She was born in Crdoba, Argentina, in 1992, and studied film and televi-
sion at the Cordoba National University. In 2011, she joined the produc-
tion company Vientosur Cine, based in the city of Crdoba.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
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 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
Argentina, 2016 / 81 / DCP / Color / Espaol - Spanish
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
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 ram-
bla y colecciona escenas marplatenses que culminan en un
ralenti mientras suena una cancin romntica italiana.
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 con-
traparte, 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 mien-
tras 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 protagonis-
tas, directores o espectadores. Marcela Gamberini
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 coun-
terpart, 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, direc-
tors, or spectators. MG
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

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.
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. Pi-
sando 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 autofla-
gelantes 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
EDMUNDO BEJARANO
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 Inter-
nacional 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 28 th and 29 th
editions of the Mar del Plata International Film Festival.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
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.
Globetrotter Bejarno had already practiced the portrayal of po-
ets 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 self-
punishing 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 be-
come The Man Who Loved Amy Winehouse. To know him is to
love him, or something like that. AM
Bolivia, 2015 / 48 / DM / Color / Espaol - Spanish
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
97
LATIN AMERICAN OFFICIAL COMPETITION
CARREGADOR 1118
Loader 1118
Mientras se separa de su esposa, Tony debe seguir con su pe-
sada rutina de cargar camiones en el Ceagesp, el mayor alma-
cn de Latinoamrica. Su cuerpo exhausto carga los recuerdos
y el dolor de un amor perdido.
Tony tiene el cuerpo marcado. Sus piernas estn algo chue-
cas; 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 transportis-
tas 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 tras-
lacin urbana. Josefina Garca Pulls
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
While splitting from his wife, Tony must follow his heavy rou-
tine of loading trucks at the Ceagesp, the largest warehouse in
Latin America. His exhausted body carries the memories and
sorrow of a lost love.
Tonys body is marked. His legs are a bit crooked; his feet are
pretty blistered; his torso is kind of tilted forward. He walks, ob-
serves, 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 shower-
ing. This documentary portrays him and describes this celebrat-
ing 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
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

COMPETENCIA OFICIAL LATINOAMERICANA
EL TILA: FRAGMENTOS DE UN PSICPATA
Tila: Fragments of a Psychopath
Tras un apagn repentino en la crcel, el Tila aparece ahor-
cado ante la mirada sorprendida de sus guardias. Una perio-
dista se obsesiona por sacar a la luz una de las historias ms
macabras y srdidas que se puedan registrar en la historia
policial chilena.
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 l-
timos 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
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 duen-
de 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
After a sudden blackout in the prison, Tilas dead body hangs
before the eyes of some surprised guards. A journalist be-
comes obsessed with shedding light on one of the most maca-
bre and sordid stories ever recorded on Chilean police history.
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: psy-
cho killers in real life. HP
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
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.
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
HOMER ETMINANI
Naci en Tehern, Irn, en 1974, y actualmente vive en Colombia. Licen-
ciado 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 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 lo-
cals 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 recogniz-
ing 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
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

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 atem-
poral a partir de imgenes de personas y paisajes a la espera
de ser observados.
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 pro-
bable 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 fa-
miliaridad de quien temporalmente vuelve a casa. Fran Gayo
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
Shot in Ecuador, its a journey that starts at the ocean, con-
tinues through the mountains and descends in the jungle.
A timeless experience through images of people waiting to
be watched.
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 tem-
porarily. FG
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
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 pa-
dre distrado. Pero todo cambia cuando conoce a Andrea, su
nueva compaera de clase, con la que comenzar una rela-
cin ntima en secreto.
UIO hace de la intimidad su territorio. En una especie de danza
de encantamiento, la pelcula se esmera en encontrar la distan-
cia 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 incle-
mencia donde las imgenes se instalan y respiran. En el modo
en que se miran por primera vez, en las primeras conversacio-
nes, 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
MICAELA RUEDA
Naci en Quito, Ecuador, en 1983. Estudi direccin en la FUC. Actual-
mente lleva a cabo talleres de direccin de actores. Dirigi dos cortome-
trajes 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.
102 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 inti-
mate relationship in secret.
UIO makes intimacy its territory. In some sort of enchantment
dance, the film struggles to find the right distance in order ac-
count for the space between two girls who meet when school
is ending and adolescence gives way to something else. Avoid-
ing narrative surprises and leaving the frictions with the out-
side 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
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

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 dolo-
roso recuerdo y que un buen da conoce a Germn, el misterio-
so mujeriego del pueblo.
Flores silvestres sigue a Marta, una mujer que vive con un dolor
eterno, expresado a partir de los silencios, de la incomunica-
cin, de todo aquello que no se dice y, sin embargo, est pre-
sente. 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 difumi-
narlo 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. Escri-
bi 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
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 commu-
nication, 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 ev-
eryday 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
103
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
LATIN AMERICAN OFFICIAL COMPETITION
WIK
Tres jvenes limeos viven el verano en una ciudad en apa-
riencia esttica. En su afn por querer hacer algo con su tiem-
po, se descubren a s mismos y a los mundos que habitan.
Con una conviccin que pareca olvidada, el debut en la direc-
cin 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 dedica-
cin el fragor de los encuentros en el terreno amoroso y su con-
trapartida: el silencio feroz de las horas perdidas. David Obarrio
RODRIGO MORENO DEL VALLE
Estudi ciencias de la comunicacin en la Universidad San Ignacio de
Loyola. Dirigi cinco cortometrajes. Tambin se desempea como direc-
tor de publicidad.
He studied communication sciences at the San Ignacio de Loyola Univer-
sity. He directed five shorts. He also directs commercials.
104 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 loneli-
ness, boredom, or an unfinished form of anguish, and spend
time in the same way days pass by in this film, each one mark-
ing 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
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
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.
Los grafitis han anunciado histricamente los principales even-
tos 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 ac-
count 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 meta-
phor for its directors resistance. Irans Revolutionary Court has
recently sentenced Karimi to one year in prison and 223 lash-
ings for having directed Writing on the City. The authentic graffiti
artists are never in the service of power. MM
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

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 desapa-
recidos en varios pases. Solo la restitucin de los restos a sus
familiares puede cerrar las heridas abiertas.
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 ones as sharp as the former (protocols for excavating and clas-
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 me-
moria es la batalla por el control del Estado. Quintn
FACUNDO BERAUDI
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 determi-
nacin de Aminetu (2009).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
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.
The Memory of the Bones centers on the work done by the
Argentine Forensic Anthropology Team, whose task of identify-
ing the bodies buried clandestinely by the military dictatorship is
shown as continuity in the search for the children of the disap-
peared. 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
sifying 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
Argentina, 2016 / 80 / DCP / Color / Espaol - Spanish
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
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 des-
pus de una transformacin en la que el cambio de sexo es
solo una parte de la exploracin de la propia identidad.
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 tran-
sicin, 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 aboli-
ramos esto de hombre/mujer; si nos definiramos de forma
diferente, ms como una contrasexualidad. Alejandro Dramis
The filmmakers follow six people who, for different reasons,
take on a transgender identity. The before and after of a trans-
formation in which sex change is only a part of the exploration
of ones own identity.
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: Every-
thing 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
D, G, DA, P, PE: Katharina Lampert, Cordula Thym F: Judith Benedikt
numerosas exposiciones y dirigi tres documentales.
E: Niki Mossbck S: Johanna Kirsch M: Armin Lorenz I: Denice
She was born in Vienna in 1976. She studied literature and conceptual Bourbon, Mani Tukano, Dorian Bonelli, Nick Prokesch, Hans Scheirl
arts. She did many exhibits and directed three documentaries.
Contacto / Contact
CORDULA THYM sixpackfilm. Dietmar Schwarzer
Naci en Austria en 1977, y estudi en la Academia de Cine de Viena. T +43 1 526 0990
Tambin se form como ingeniera en sonido y toc la batera en varias E dietmar@sixpackfilm.com
bandas. W sixpackfilm.com
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 [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 ins-
piradas 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.
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 fi-
gura 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
A film that dares to navigate the entire world of writer, painter,
and activist Grislidis Ral. Images inspired in her texts, draw-
ings, 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. 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 foot-
age, 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 Blgica - Belgium, 2016 / 70 / DCP / Color & B&N

Naci en Blgica en 1965 y estudi arquitectura y escenografa antes Francs - French
de formarse y graduarse en la Escuela de Cine de Bruselas. Dirigi los
D, G: Marie-Eve de Grave F: Jorge Piquer Rodriguez,
cortometrajes Waiting for Frank (2000), Opale Plage (2010) y Grand Tour
Sbastien Koeppel E: Simon Arazi S: Ludovic Van Paschterbeke
(2013), entre otros.
M: Pierre Avia P: Franoise Hoste PE: Franoise Hoste
She was born in Belgium in 1965 and studied architecture and set design CP: On Move Productions
before she trained and graduated from the Brussels Film School. She
directed several short films, including Waiting for Frank (2000), Opale Contacto / Contact
Plage (2010) and Grand Tour (2013). 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 rela-
cin que lleva con su madre y su hermano, ambos diagnos-
ticados 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.
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 trastor-
no 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. Obviamen-
te, Juanicas nos habla de Juan, pero responde ante todo a la
necesidad de la cineasta de sacudirse sus propios fantasmas.
Jaime Pena
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 Cana-
da. She directed the shorts Une bonne eleve (2008) and Les Grands
Penseurs (2009).
110 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 collec-
tion of Juan, a character we know nothing about until a flash-
back takes us several years in the past and we find out hes the
brother of the director. After his return to Quebec and an appar-
ent normality, Garca Casanovas chronological story progres-
sively reveals us both her mother and brothers bipolar and ma-
niac 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. Obvi-
ously, Juanicas tells us the story of Juan, but it primarily re-
sponds to the filmmakers need to shake off her own ghosts. JP
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

COMPETENCIA OFICIAL DERECHOS HUMANOS
EN OTRA CASA
Far from Home
Las protagonistas de este documental son mujeres latinoame-
ricanas que viven en Madrid y trabajan como mucamas para
poder enviarles dinero a sus familias, con las que se comu-
nican va Skype. Mientras tanto, suean con el momento de
volver a sus tierras.
Aqu los patrones quedan fuera de campo (o paralizados, po-
sando 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
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 com-
municate via Skype. Meanwhile, they dream about returning
to their native lands.
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 employ-
ers. 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 fo-
cuses 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 pain-
ful is actually the irretrievable nature of lost time. Does Catholic
religion ease that pain, or endorses it? FEJL
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
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 revis-
ta 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 pri-
mera edicin postatentado.
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, inclu-
yendo 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, so-
bre 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
DANIEL LECONTE
Naci en Argelia en 1949, y se nacionaliz francs. Trabaj como perio-
dista 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
On January 7 th, 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 previ-
ous 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
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

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 con-
secuencias de la guerra.
Homeland (Irak, ao cero) recupera algo que parece cada vez
ms alejado de los propsitos del arte cinematogrfico: volun-
tad, 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 do-
lorosamente 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
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 docu-
mentales 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 coun-
try to shoot the documentaries Back to Babylon (2002) and We Iraqis
(2004). He also directed the war drama Dawn of the World (2008).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
FUERA DE COMPETENCIA - OUT OF COMPETITION
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 conse-
quences of war.
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 deci-
sions 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 film-
makers 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
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
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.
La pelcula de Valentina Esposito recrea el paso del confina-
miento a la libertad haciendo gala de un tono seco, con el pulso
discreto y potente, al igual que esas almas que amanecen habi-
tando 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 re-
dencin 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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
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

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 disec-
cin completa del sistema.
El escenario: una agencia de contratacin de mucamas. Con ese
lmite espacial, Maher Abi Samra entrega un ensayo tan contun-
dente 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 des-
cribe 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
MAHER ABI SAMRA
Naci en Beirut, Lbano, en 1965. Estudi cine en La Fmis de Pars,
y trabaj como fotgrafo para peridicos y agencias de noticias. Diri-
gi 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 Commu-
nists (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), Inhabit-
ance of Shatila Hospital (2001), Rond-Point Chatila (2004), and We Were
Communists (2010; Bafici 11).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
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.
The setting: a maid service agency. Within that spatial limitation,
Maher Abi Samra delivers a solid, exploratory and incisive es-
say 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 com-
plain 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
Lbano - Lebanon, 2016 / 67 / DCP / Color / Libans - Lebanese
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
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 escar-
ba en las entraas de esta historia.
Es curioso, pero por momentos la pelcula de uno de los cineas-
tas 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 en-
frentan 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 miem-
bros, Chavarra experimenta sobre el lenguaje; caras, cuerpos,
escenarios. Un mundo, un universo: cartas visuales para alguien
que no puede verlas. Diego Lerer
PABLO CHAVARRA GUTIRREZ
Naci en Mxico en 1986. Es bilogo graduado de la Universidad Autno-
ma 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).
116 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 sen-
tenced to 60 years in prison. The film unearths the entrails
of that story.
Its funny, but at times, the film by one of the most indepen-
dent 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 cam-
era 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, bod-
ies, sceneries. A world, a universe: visual letters for someone
who cant see them. DL
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

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.
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 admi-
racin. 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
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 filmmak-
er 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
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.
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 build-
ing), 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
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
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 re-
fugiados 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.
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 romn-
tica la que nos ha enseado que el amor es la cura de todos los
males? Fernando E. Juan Lima
MAHDI FLEIFEL
Naci en Dubai, y creci en un campo de refugiados palestinos del Lba-
no 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 Leba-
non, 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In order to escape the terrible conditions in the Palestine refu-
gee 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.
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 sy-
ringe 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 seem-
ingly 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
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/
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 movimien-
tos. 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
Argentina, 2016
watched me from his balcony, I decided to give him a taste 22 / DM / Color
of his own medicine and started filming him. Day and night, Espaol - Spanish
I recorded his every move. One day, on the street, I saw him
walking towards me. I couldnt dodge him. When we crossed D, G, F, E, S, P, PE: Ariela Bergman I: Ariela Bergman,
each other, our hands brazed. Tamara Bergman, Nicols Mauceri
Contacto / Contact
ARIELA BERGMAN Ariela Bergman
T +54 9 11 5109 3760
Naci en Buenos Aires en 1984. Estudi diseo de imagen y sonido
E ariela.bergman@gmail.com
en la UBA. Su trabajo en el cine se ubica entre el videoarte y el cine
de ensayo.
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 anun-

ciarles a sus congneres su decisin de experimentar el mun-
do hasta la fractura.
A young woman is about to reveal her disturbing secrets by
announcing her fellow women her decision to experience the Argentina / Alemania - Argentina / Germany, 2016
world up to a breaking point. 13 / DM / Color
Espaol - Spanish

SEBASTIN PREZ OPACK D, G, F, E, DA: Sebastin Prez Opaak S: Lautaro Aichenbaum

M: Wolfgang Voigt, Alva Noto P: Sebastian Prez Opacak,
Naci en Buenos Aires en 1978, y se cri en Ro Gallegos. Estudi filo-
Ivo Aichenbaum PE: Ivo Aichenbaum CP: URSA Estudio
sofa y letras en la UBA. Actualmente vive en Berln.
I: Mara Elena Guerra Aredal, Isabelle Philippe
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. Contacto / Contact
URSA Estudio. Ivo Aichenbaum
T +54 11 5737 5612
E ivoaichen@gmail.com
W ursaestudio.com

120 [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
Argentina, 2016 / 8 / DCP / Color
the country. The time until their order is given to them is all the Espaol - Spanish
time they have left to be together.
D, G, PE: Luciano Salerno F: Francisco Bouzas E: Josefina Llobet
DA: Tatiana Maz, Joaqun Maito S: Hernn Higa
LUCIANO SALERNO
M: Maxi Prietto P: Sol Inzillo, Martn Guevara CP: NNM Cine
Naci en Buenos Aires en 1989. Estudi artes audiovisuales en la UNA, I: Malena Villa, Pablo Sigal
y dirigi tres cortometrajes.
Contacto / Contact
He was born in Buenos Aires in 1989, and studied Audiovisual Arts in
NNM Cine. Luciano Salerno
UNA. He directed three short films.
T +54 9 11 6160 5103
E salerno_89@yahoo.com.ar
W facebook.com/nnm.cine ~ facebook.com/cortometrajeberlin

PREMIERE MUNDIAL / WORLD PREMIERE

EL MES DEL AMIGO
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 ran-
Argentina, 2016
domly starts living the life of the former tenant.
17 / DCP / Color
Espaol - Spanish
FLORENCIA PERCIA
D, G, PE: Florencia Percia F: Lucio Bonelli E: Wenchi Bonelli,
Naci en Buenos Aires en 1984, y es licenciada en Cinematografa
Florencia Percia DA: Ana Cambre S: Marcos Canosa
por la Universidad del Cine. Actualmente se encuentra realizando su
P: Mercedes Crdova, Valeria Forster CP: Brava Cine,
primer largometraje.
Universidad del Cine I: Valeria Correa, Adriano Salgado
She was born in Buenos Aires in 1984, and majored in Cinematography at
Contacto / Contact
Universidad del Cine. She is currently making her first feature-length film.
Brava Cine. Florencia Percia
T +54 9 11 5562 2932
E perciaflorencia@gmail.com

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PREMIERE MUNDIAL / WORLD PREMIERE

ERROR 404

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
Argentina, 2016
their computer screens. Suddenly, the Internet connection goes 13 / DM / Color
down, and the company gets into a crisis when the workers Espaol - Spanish
start connecting with things other than their monitors.
D, G: Mariana Wainstein F: Matas Nicols E: Javier Falchi,
Mariana Wainstein DA: Juan Cavia S: Nicols Chudnovsky
MARIANA WAINSTEIN
M: Gabriel Chwojnik P: Sol Aramburu PE: Fabin Zayat
Naci en Buenos Aires en 1981. Se recibi de diseadora de imagen CP: Gloria Films I: Julieta Zylberberg, Iair Said, Walter Jakob,
y sonido en la UBA. Trabaj en el rea de direccin con reconocidos Paula Grinszpan, Katia Szechtman, M. Alarcon, M. F. Callejn
directores, como Damin Szifron y Francis Ford Coppola.
Contacto / Contact
She was born in Buenos Aires in 1981. She majored in Image and
Mariana Wainstein
Sound Design at the UBA. She worked in film direction with renowned
T +54 9 11 3043 0204
filmmakers such as Damin Szifron and Francis Ford Coppola.
E mariwain@gmail.com
W mariwain.com.ar

PREMIERE MUNDIAL / WORLD PREMIERE

HISTORIA DEL AGUA
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 Argentina / Colombia, 2016

Naci en Medelln, Colombia, en 1990. Estudi direccin de cine en la 13 / DCP / Color
Universidad del Cine. Dirigi el corto Por ver la luz en tus pupilas, deca Espaol - Spanish
mordicante el rprobo (Bafici 15).
D, F, P, PE: Simn Vlez Lpez G: Simn Vlez Lpez,
He was born in Medelln, Colombia, in 1990. He studied filmmaking at Juan Lugo Quebrada E: Juan Sebastin Quebrada S: Tatiana Frean
Universidad del Cine. He directed the short film Por ver la luz en tus CP: Soda, Montaero Cine, Universidad del Cine
pupilas, deca mordicante el rprobo (Bafici 15). 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

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PREMIERE MUNDIAL / WORLD PREMIERE

HOLA A LOS FIORDOS!
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 Argentina / Uruguay, 2016

Naci en Montevideo en 1985, y estudi en la Universidad del Cine. 12 / DCP / Color
Dirigi dos cortometrajes.
D, G, E, P, PE: Alex Piperno F: Andrs Aguil S: Lucas Larriera
He was born in Montevideo in 1985, and studied at Universidad del CP: La Pobladora Cine, Ciudades Subterrneas I: Setiawan Jeje
Cine. He directed two short films. Tempo, Muhtarwin Efendi
Contacto / Contact
La Pobladora Cine. Alex Piperno
T +54 9 11 6244 3307
E pipernoalex@gmail.com
W lapobladoracine.com

PREMIERE MUNDIAL / WORLD PREMIERE

JULIETA SE QUEDA DORMIDA
Julieta Falls Asleep

Julieta cuenta una historia dos veces. Ambas versiones difie-

ren 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
Argentina, 2016
differences. Julieta gets photographed in a park. In the pho-
11 / DM / Color
tographers room, Julieta is naked, pretending to sleep, and Espaol - Spanish
waiting for him to go to the bathroom (or to make coffee), so
she can get dressed quickly, in a second. 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
DANTE DE LUCA
Naci en Buenos Aires en 1992. Estudi en la Universidad del Cine. Contacto / Contact
Actualmente escribe el guion de su primer largometraje. Alexan Films
T +54 9 11 5720 6913
He was born in Buenos Aires in 1992. He studied at Universidad del
E alexan3786@hotmail.com
Cine. Hes currently writing the script for his first feature-length film.
W alexan.com.ar

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(LA FBRICA DE TORTAS)

PREMIERE AMERICANA / AMERICAN PREMIERE

PASTEL DE CEREZA
(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.
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

LA REINA DEL BAILE
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 mu-
cho 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
Argentina, 2016
her marriage with Liliana. But what shes looking for is closer
12 / DM / Color
than it seems. Espaol - Spanish

MARTN HOLZMAN D, G: Martn Holzman F: Sebastin Cantillo E: Toms Maumus

DA: Natalia Chiacchiari S: Ana Mandelbaum, Lucio Fontana
Naci en Buenos Aires en 1993. Se gradu en la ORT en la orientacin P, PE: Martn Busel CP: Emboscada, Universidad del Cine
de medios de comunicacin, y luego estudi direccin de cine en la I: Fabin Arenillas, Mirta Wons, Pedro Di Salvia, Lucila Tolcachier,
FUC. Su primer corto fue El sueo del pibe. Martn Piroyansky
He was born in Buenos Aires in 1993. He graduated from ORT with an
Contacto / Contact
orientation in media, and later studied filmmaking at the FUC. His first
Emboscada. Martn Busel
short film was El sueo del pibe.
T +54 9 11 6714 2967
E martinbusel@gmail.com

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PREMIERE MUNDIAL / WORLD PREMIERE

LAS IMGENES DE HELENA
Helens Images

Una mujer abandonada, su cuerpo angustiado y la tristeza disi-

mulada. 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,
Argentina, 2016
which coexist and demonstrate the gap in opportunities for 15 / DCP / Color
women in 1890 and 1970. Espaol - Spanish
D, G, E: Andrea Santamara F: Andrs Aguil
ANDREA SANTAMARA
DA: Micaela Bellani S: Francisco Pedemonte
Estudi en la Universidad del Cine en Buenos Aires y se especializ en P: Florencia Clrico, Andrs Larriera I: Sabrina Grinschpun,
efectos especiales en los Escape Studios en Londres. Dirigi el cor- Jimena del Pozo, Graciela Borges, Walter Saettone
tometraje Tres (2005), y fue una de las directoras del largometraje A
propsito de Buenos Aires (Bafici 06). Contacto / Contact
Hasta 30 Minutos. Luciana Abad
She studied at Universidad del Cine in Buenos Aires and specialized in
T +54 9 11 6455 4130
special effects at the Escape Studios in London. She directed the short
E hasta30minutos@gmail.com
film Tres (2005), and was one of the directors of the collective film A
propsito de Buenos Aires (Bafici 06).

PREMIERE AMERICANA / AMERICAN PREMIERE

LOS DAS FELICES
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 ad-
vierte 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 notic-
Argentina, 2016
es one of their daughters is missing. A desperate search begins.
15 / DM / Color
Espaol - Spanish
AGOSTINA GUALA
D, G: Agostina Guala F: Alejo Maglio E: Ignacio Guala
Naci en Ro Negro, Argentina, en 1984. Estudi en la Universidad del
S: Adriano Salgado, Lucas Larriera M: Federico Britos
Cine, donde realiz numerosos cortometrajes. Trabaj como ayudante
P: Agostina Guala, Daniela Martnez Nannini, Martn F. Lapissonde
de direccin en varios films nacionales e internacionales.
PE: Daniela Martnez Nannini, Martn F. Lapissonde CP: Macaco Films,
She was born in Ro Negro, Argentina, in 1984. She studied at Universi- Mil Grullas Cine I: Celina Carbajal, Iaki Moreno
dad del Cine, where she directed several short films. She worked as an
Contacto / Contact
assistant director in many local and foreign films.
Mil Grullas Cine, Macaco Films. Daniela Martnez Nannini
T +54 9 11 5845 7214 E danielamartineznannini@gmail.com
W milgrullascine.com ~ macacofilms.com.ar

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MANIFIESTO DE AMOR
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 ev-
eryday gestures.
Argentina, 2016
MARLENE LIEVENDAG 10 / DM / Color
Naci en Buenos Aires en 1966. Estudi direccin de arte en la Uni- Espaol - Spanish
versidad de Nueva York. Hace veinte aos que trabaja como directora
D, G, F, S, P: Marlene Lievendag E: Carolina Grgurevic
de arte en cine y televisin.
I: Pedro Saborido, Sofa Saborido, Dante Saborido,
She was born in Buenos Aires in 1966. She studied Art Direction at NYU. Marlene Lievendag
She has been working as an art director in film and TV for twenty years.
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 inexpli-
cable attraction towards nature throughout time.

AGUSTINA SAN MARTN IV Argentina, 2016

Naci en Buenos Aires en 1991. Estudi diseo de imagen y sonido en 22 / DCP / Color
la UBA, y realiz varios trabajos como directora de fotografa, como en el Espaol - Spanish
cortometraje Lo que dicen del monte, ganador del Bafici 14.
D, G: Agustina San Martn IV F, PE: Constanza Sandoval
She was born in Buenos Aires in 1991. She studied image and sound E: Renata Miranda, Agustina San Martn IV DA: Agustn Ravotti
design at the UBA, and worked as a cinematographer for several projects, S: Octvio Tavares P: Beln Bianco CP: Presencia Cine
including the short film Lo que dicen del monte, winner of Bafici 14. 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

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PREMIERE MUNDIAL / WORLD PREMIERE

PERFUME PARA CUATRO
Four Ladies, One Perfume

Tres hermanas estn en su casa por la noche. Como de cos-

tumbre, 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.
Argentina, 2016
8 / DM / Color
INS VILLANUEVA Espaol - Spanish
Naci en Buenos Aires en 1993. Estudi direccin cinematogrfica en D, G, E: Ins Villanueva F: Luis J. Celedn DA, PE: Pablo Fernndez
la Universidad del Cine. Dirigi los cortos Joaquina siempre (2012), As S: Javier Fernndez Jensen P: Pablo Fernndez, Juan Iastrebner
somos sin Serena (Bafici 14) y El rastro. CP: Naiz Films, Universidad del Cine I: Teresa Salomn,
She was born in Buenos Aires in 1993. She studied filmmaking at Uni- Clara Villanueva, Ins Villanueva
versidad del Cine. She directed the short films Joaquina siempre (2012),
Contacto / Contact
As somos sin Serena (Bafici 14) and El rastro.
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.
Argentina / Colombia, 2016
10 / DCP / Color
MERCEDES GAVIRIA Espaol - Spanish
Naci en Medelln, Colombia, en 1992, y estudi direccin de cine en la
D, G, S: Mercedes Gaviria F: Mauricio Reyes Serrano
Universidad del Cine de Buenos Aires. Tambin se form como sonidis-
E: Laura Valderrama DA: Juana Varela M: Sergio Andrs Velsquez
ta, y realiz la edicin de sonido de varios largos.
P: Julen Laburu PE: Mara Florencia Palombo, Mercedes Gaviria
She was born in Medelln, Colombia in 1992, and studied filmmaking CP: Universidad del Cine, Alcalda de Medelln, Elhecho Cine
at Universidad del Cine in Buenos Aires. She also trained as a sound I: Fernando Acosta, Marisa Grieber, Pablo Toporosi
designer and worked on several films as a sound editor.
Contacto / Contact
Elhecho Cine. Mercedes Gaviria
T +54 9 11 3412 2324
E elhechocine10@gmail.com
W facebook.com/cortometrajesilencioantes

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UN EJERCICIO PARA NO OLVIDAR
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 re-
lacin y la misteriosa figura de un hombre nacido en Paraguay
a principios del siglo XX.
Cristian is a young actor who has trouble distinguishing fan-
Argentina, 2016
tasy from reality. While he waits for her girlfriend in a bar, his 17 / DM / Color & B&N
mind delves in the memories of his relationship and the mys- Espaol - Spanish
terious figure of a man born in Paraguay in the early years of
the 20th century. 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
GABRIEL BOSISIO
P: Gabriel Bosisio, Malena Kremenchusky CP: Catnap
Naci en Buenos Aires en 1987. Debut como director con La nia I: Malena Villa, Gabriel Bosisio, Cristian Ciminnelli, Agustina
elefante, serie web ganadora de la Bienal de Arte Joven 2015. Gutirrez, Evert Romero
He was born in Buenos Aires in 1987. His directorial debut, the web Contacto / Contact
series La nia elefante, won the 2015 Youth Art Biennale. Catnap. Gabriel Bosisio
T +54 9 11 579 4084
E bosisio.gabriel@gmail.com W catnapcine.com

PREMIERE MUNDIAL / WORLD PREMIERE

YOLANDA

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.
Argentina, 2016 / 17 / DCP / Color
Espaol / Ingls - Spanish / English
AGUSTN BURGHI
D, P, PE: Agustn Burghi F: Javier Gonzlez Tun E: Florencia Tissera
Naci en Saladillo en 1990, y egres de la ENERC. Dirigi el corto
S: Sofa Straface I: Adelfa Yolanda Segura de Mariotto, Agustn Burghi
Viernes 20:15 (Bafici 14).
Contacto / Contact
He was born in Saladillo in 1990, and graduated from ENERC. He di-
rected the short film Viernes 20:15 (Bafici 14). Agustn Burghi. Agustn Burghi
T +54 9 11 6152 0686
E agustinburghi@gmail.com

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ARGENTINE SHORT FILMS EXHIBITION
ARGENTINE SHORT FILMS EXHIBITION

PREMIERE MUNDIAL / WORLD PREMIERE

AVISO FNEBRE
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 Argentina, 2016 / 12 / DM / Color / Espaol - Spanish

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 Univer-
sidad del Salvador and later filmmaking at Universidad del Cine.
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

CAMARN
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 cur-
tain 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 Uni-
versidad 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

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PREMIERE MUNDIAL / WORLD PREMIERE

CARTA 12, PRAGA.
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 fic-
cin 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
Argentina, 2016 / 10 / DM / Color / Espaol - Spanish
tells the truth: the real history and the memory of that place
breathes in what she sees and narrates. 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
VERA CZEMERINSKI Contacto / Contact
Naci en Buenos Aires en 1972, y es actriz. Es egresada de la Escuela Los Viajes de Isabella. Vera Czemerinski
de Dramaturgia de la EAD. Actualmente trabaja en produccin, periodis- T +54 9 11 5974 7500
mo, como actriz y cantante. E veczeme@gmail.com
W impresionesextranjeras.blogspot.com.ar
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.

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 some-
where else. A studio apartment, a community of nice neigh-
bors, and a stray dog will all become her new home.
Argentina, 2016 / 18 / DM / Color / Espaol - Spanish

LAURA HUBERMAN D, G: Laura Huberman F: Joaqun Neira E: Constanza Curia

DA: Lucia Carnicero S: Nicols Payueta M: Nicols Villamil
Naci en Buenos Aires en 1986, y estudi en la Universidad del Cine.
P: Melanie Schapiro, Laura Huberman PE: Melanie Schapiro
Es directora y productora. Clara es su segundo cortometraje.
CP: Laura cine I: Jimena Anganuzzi, Mariano Sayavedra,
She was born in Buenos Aires in 1986, and studied at Universidad del Susana Varela, Mario Bodega, Renzo Cozza, Ana Katz
Cine. Shes a director and producer. Clara is her second short film.
Contacto / Contact
Laura cine
T +54 9 11 3966 6808
E info@lauracine.com
W lauracine.com

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PREMIERE MUNDIAL / WORLD PREMIERE

CONTINUE

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, comien-
za 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
Argentina, 2016 / 11 / DM / Color / Espaol - Spanish
heavy suitcase around, and without noticing it, she will start
facing the uncertain future that awaits her. 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
SHEUEN MONDELO
Naci en Ro Gallegos en 1988, y actualmente vive en La Plata. Es- Contacto / Contact
tudi fotografa, diseo de indumentaria y diseo en comunicacin FilmsToFestivals. Gisela Chicolino
visual en la UNLP. T +54 9 11 5181 1740
E filmstofestivals@gmail.com
She was born in Ro Gallegos in 1988, and currently lives in La Plata.
W filmstofestivals.com
She studied photography, fashion design, and visual communication
design at the UNLP.

PREMIERE MUNDIAL / WORLD PREMIERE

DE CMO DANIEL...
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
Argentina / Colombia, 2016 / 20
likes to sleep late and watch YouTube videos. At his job, he
DM / Color / Espaol - Spanish
meets Agustina, an Argentine girl who doesnt like to sleep, but
shares his enthusiasm for that website. 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
DANIEL KORGI
I: Daniel Korgi, Agustina Ferrari
Naci en Cali, Colombia, en 1989. Estudi direccin de cine en la Uni-
versidad del Cine en Buenos Aires. Contacto / Contact
Daniel Korgi
He was born in Cali, Colombia, in 1989. He studied filmmaking at Uni-
T +57 31 5852 1013
versidad del Cine in Buenos Aires.
E danikorgi@gmail.com

132 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 MUESTRA ARGENTINA DE CORTOS

PREMIERE MUNDIAL / WORLD PREMIERE

DEPORTIVO ESPAOL

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,
Argentina, 2016 / 11 / DM / Color / Espaol - Spanish
and music bursting. Men and women gather to celebrate
movement in a place that welcomes them. Two countries. A D, G, F, E: Ignacio Verguilla S: Pablo Sala P: Anbal Perotti,
club and an area that extends so their eyes meet with the Gabriel Smaniotto, Ignacio Verguilla, Fabin Roberti
melody of the forms. Contacto / Contact
Ignacio Verguilla
IGNACIO VERGUILLA T +54 11 5933 0094
Naci en Buenos Aires en 1975, y se gradu como realizador en el Cievyc. E iverguilla@yahoo.com.ar
Curs estudios de letras y fotografa, y es docente en Andamio 90.
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.

PREMIERE MUNDIAL / WORLD PREMIERE

EL CORAL QUE
TRAJIMOS DE BRASIL
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 sum-
mer 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).
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).
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

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 133

ARGENTINE SHORT FILMS EXHIBITION

PREMIERE AMERICANA / AMERICAN PREMIERE

EL FAMILIAR
The Familiar

Narra el mito del perro familiar, un diablico ser que se devo-

raba a los reacios trabajadores del Ingenio Santa Ana, en Tucu-
mn, 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.
Argentina, 2015 / 26 / DM / Color / Espaol - Spanish

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.
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

EL FINAL
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
Argentina, 2016 / 11 / DM / Color / Espaol - Spanish
temple into a church of God. The doors are open to welcome
their followers. D, G, E, S, P: Juan Schmidt F: Juan Schmidt, Alexis Bianchi,
Nicols Mattiangeli CP: Monstruo Producciones
JUAN SCHMIDT Contacto / Contact
Naci en Buenos Aires en 1978. Estudi diseo de imagen y sonido en la Monstruo Producciones. Juan Schmidt
UBA. Dirigi los largometrajes Polvareda (2013) y Los monstruos (2014). T +54 9 11 5644 6685
E monstruoprod@gmail.com
He was born in Buenos Aires in 1978. He studied image and sound design
W vimeo.com/juanschmidt
at the UBA. He directed Polvareda (2013) and Los monstruos (2014).

134 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 MUESTRA ARGENTINA DE CORTOS

PREMIERE MUNDIAL / WORLD PREMIERE

EL HOMBRO DE SBARAGLIA
Sbaraglias Shoulder

Diego es un actor que, despus de 10 aos de tratar de sobre-

salir en el mundo de la actuacin en Nueva York, sigue sus ins-
tintos 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. Estu-
di 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 Uni-
versity 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, writ-
Argentina / Finlandia - Argentina / Finland, 2015
ten by Argentine psychoanalyst, playwright and actor Eduardo
22 / DM / Color / Espaol - Spanish
Pavlovsky in 1972. The film takes as its setting the Payr The-
ater in Buenos Aires, in which the play was first released in D, G, DA, P, PE: Diego Bruno F: Antti Pohjola
January 1973. E: Diego Bruno, Ewa Grzna S, M: Mikko Rihl
Contacto / Contact
DIEGO BRUNO AV-Arkki
Naci en 1978 en Argentina. Estudi historia del arte en la Universidad T +358 504 356 092
de Buenos Aires, tiene un BFA de la Escola Massana de Barcelona, y un E distribution@av-arkki.fi
MFA de la Finnish Academy of Fine Arts. 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.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 135

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
Argentina, 2015 / 18 / DM / Color / Espaol - Spanish
weeks in the city, he will start to sense a certain distance with
both his friends and his spaces. D, G, PE: Mauro Movia F: Sofa Rodrigo E: Mauro Movia,
Sebastin Schajer DA: Mara Andrea Caso
S, M: Damin Campero P: Gonzalo Leiva
MAURO MOVIA
CP: Universidad del Cine, Il Gallo Nero, Capataz Cine
Naci en 1983 en Bariloche, Ro Negro, y estudi en la Universidad del I: Fidel Vitale, Martn Bagdadi, Luciana Asad, Melina Lpez
Cine. Dirigi el corto El puesto, que particip en diferentes festivales
internacionales. Contacto / Contact
Il Gallo Nero. Mauro Movia
He was born in 1983 in Bariloche, Ro Negro, and studied at Universidad
T +54 9 11 6644 0891
del Cine. He directed the short film El puesto, which was screened in
E maurommovia@gmail.com
several international festivals.

PREMIERE MUNDIAL / WORLD PREMIERE

LA DISTANCIA
ENTRE LOS MDANOS
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 Argentina, 2016 / 19 / DM / Color / Espaol - Spanish
la mirada infiltrada del otro.
D, P, PR: Carla Francolino G: Carolina Lara Grimberg F: Gala Negrello
On the way back to the city after an overwhelming visit to her E: Mayra Ferreyra Basso DA: Melina Gutman S: David Frete
sick grandmother, Sofa needs to stop in a hotel with Nacho M: Alberto Lucas I: Sofa Efron, Gabriel Bosisio, Mariana Zarnicki
and Sandra until the fire is over. The wind dragging his inert Contacto / Contact
bodies will lead them to more and more silent rooms, shelters Carla Francolino
to remain hidden from the infiltrated view of the others. T +54 9 11 6057 3000
E carfrancolino@gmail.com
CARLA FRANCOLINO
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 econmi-
camente y cumplir el sueo de convertirse en un cantante fa-
moso. Una oportunidad podra cambiar su suerte y su destino.
Samba is a Senegalese immigrant living in Buenos Aires. His life
Argentina, 2016 / 16 / DM / B&N
passes by amidst the mosque, the pension, rap, and selling eye- Wolof / Espaol - Wolof / Spanish
glasses. He has been struggling for three years in order to grow
financially and fulfill his dream of becoming a famous singer. And D, G, DA, P, PE: Milena Amaya, Ana Farini, Aylee Ibaez
then, he gets an opportunity that could change his luck and fate. F: Milena Amaya E: Javier Aguilar S: Javier Aguilar
CP: Mumbai Films I: Massamba, Gabriel Chwojnik, Angel Frometta
LOS DIRECTORES / THE DIRECTORS
Contacto / Contact
Aylee Ibaez es licenciada en Historia del Arte en la Universidad de La Mumbai Films. Ana Farini
Habana. Milena Amaya trabaj en varios documentales independien- T +54 9 11 4949 1990
tes en Buenos Aires. Ana Farini dirigi El oficio y Oh. E anafarini@yahoo.com
Aylee Ibaez majored in Art History at the University of Havana. Mile-
na 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 Floren-
cia, 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.
Argentina / Colombia, 2016 / 14 / DM / Color
Espaol - Spanish
MAURICIO SARMIENTO
D, G, P, PE: Mauricio Sarmiento F: Mauricio Reyes
Naci en Bogot, Colombia, en 1987. Estudi cine y dramaturgia en
E: Sebastin Quebrada DA: Etelvina Ibarbo S: Mercedes Gaviria
Argentina. Dirigi el corto Tres danzas un baile.
M: Carlos Quebrada CP: Montaero Cine I: Luna Acosta,
He was born in Bogot, Colombia, in 1987. He studied filmmaking and Sebastin Quebrada, Mario Londoo, Guillermina Pico
playwriting in Argentina. He directed the short film Tres danzas un baile.
Contacto / Contact
Montaero Cine
T +54 9 11 5764 1012
E montanerocine@gmail.com
W montanerocine.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 137

ARGENTINE SHORT FILMS EXHIBITION

PREMIERE MUNDIAL / WORLD PREMIERE

UNA IDEA DE
LA VIDA COTIDIANA
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 extraordi-
nary 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 Contacto / Contact
De periplos y cangrejos.
She was born in Buenos Aires in 1992. She studied film direction at Uni-
versidad del Cine, and three years of literature at the UBA. She directed
the short De periplos y cangrejos.
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
Vernica Balduzzi
T +54 9 11 6958 6514
E ver.balduzzi@gmail.com
W cargocollective.com/veroazul

138 [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 pri-
mera 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 orga-
nized 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 condi-
tions that rule mainstream cinema. The short films premiere
in film theaters, they are seen by critics and general audi-
ences, 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 mue-
re, 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 tes-
tigos de la violencia en la relacin abusiva
de sus padres. Cora tiene un plan para libe-
rar 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 punish-
ment. The kids carry it out. The plan is suc-
cessful.

CIMARRN
Chiara Ghio / 11
Un cazador se encuentra atrapado en un A hunter is caught in a circle that inevitably
crculo que lo conduce invariablemente a leads him to madness.
la locura.

140 [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.
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 sexua-
lidad. Su amiga Ana intenta acompaarla.
Laura atraviesa lo inevitable.
EL INCONVENIENTE
Adriana Yurcovich / 14
En algunos barrios de Buenos Aires se in-
terrumpe el servicio elctrico. En el edificio
donde vive Celina, una mujer mayor con
discapacidad motriz, todos parecen estar
ausentes. Celina debe luchar para sobrevivir.
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.
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 ame-
naza est cada vez ms cerca. Cuando la
accin comienza, algo falla.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Jorge lives with Sofa in the middle of the
woods. Sofa hides a secret that will lead
Jorge to make a very important decision.
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.
The power goes out in some Buenos Aires
neighborhoods. Celina is an elderly disabled
woman, and in her building everyone ap-
pears to be gone. Celina will have to struggle
for her survival.
A winter night. Mariano plays with his older
sisters in a room in their country house. His
father comes in to take him hunting. Maria-
no prefers to stay home, but his father takes
him anyway.
Three men await for an order inside an ar-
mored truck. They have been there for sev-
eral hours. The demonstration that threatens
them is getting closer and closer. When the
action begins, something goes wrong.
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.
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 amena-
zante 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 en-
ferma de Diment, responsable de La memoria del muerto, con
la que logr cierta notoriedad en el mundo del gnero fants-
tico. Ante la duda, dejmoslo en claro: El eslabn podrido es
solo apta para pblico con estmago y mucho, mucho aguante.
Hernn Panessi
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 Diab-
lo (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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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
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

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.
En el mismo universo de su pera prima, Germania, Maximi-
liano 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 descen-
dientes 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 cu-
riosamente teraputicas. Misteriosa, oscura, elptica, La helada
negra procede con la cadencia de un cuento nocturno contado
a la luz del fogn. Diego Lerer
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 Inver-
nario(2010, Bafici11), as well as the feature Germania (Bafici 12).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
NOCHES ESPECIALES
In a world suspended in time, the brothers Lells fields are
threatened by a frost. However, when a mysterious woman ap-
pears and the frost gives in, the rumor that shes a saint who
arrived to save them is spread between the villagers.
In the same universe as his first feature, Germania, Maximil-
iano 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 ques-
tion 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 ca-
dence of a nighttime story told at the light of a campfire. DL
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
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.
Una stira descarnada del esnobismo y las pretensiones del
mundo del arte, una pelcula de terror que tiene como mons-
truo principal a un prestigioso terapeuta, una dramedia es-
perpntica 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 homni-
mo 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 reconoci-
ble. Andrs Nazarala R.
LAURA CASAB
Naci en 1982, y dirigi el largometraje El hada buena, una fbula pero-
nista (2010).
She was born in 1982 and has directed the feature The Good Fairy: A
Peronist Tale (2010).
146 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 extrava-
ganza, but also the allegory of a recognizable world. ANR
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

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.
No existe un atleta en la historia del deporte mundial que haya
sido consagrado como el mejor del mundo en ocho oportunida-
des. Salvo, claro, Luciana Aymar: as de gigante es Lucha, la me-
jor 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 tes-
timonios 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
ANA QUIROGA
Naci en Buenos Aires en 1978. Estudi comunicacin y luego montaje y
estructura dramtica con Miguel Prez. En 2004 cofund Zoek Produc-
ciones, 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
NOCHES ESPECIALES
Luciana Aymar is probably the top icon of female sports of our
time. A winner of each and every possible medal, she was de-
clared a Hockey Legend and the undisputable alma mater for the
Lionesses. All that is featured in a well-deserved documentary.
No athlete in the history of sport has ever been enshrined as the
best of the world eight times. Except, of course, for Luciana Ay-
mar: 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 tes-
timonies of great protagonists from that time with an intimate, un-
filtered, 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
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
147
 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 pri-
ma del director de Los Increbles narra la historia de un nio
que entabla una estrecha amistad con un robot gigante cado
del espacio.
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 anima-
cin 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
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 Impos-
sible: Ghost Protocol (2011) and Tomorrowland (2015).
150 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Set during the peak of Cold War paranoia, the first film from the
director of The Incredibles tells the story of a kid who estab-
lishes a close friendship with a giant robot that fell from space.
Su-per-man!, says the iron colossus, and assume Krypto-
nians pose. That instant in Brad The Incredibles Birds ani-
mated 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
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

HEAVYSAURIOS
Heavysaurs
Heavisaurus
Durante una excursin escolar a un parque de diversiones,
Toni y su compaera de clase Suvi descubren a los Heavysau-
rios, un grupo de criaturas que no piensan en otra cosa que no
sea comida y 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 apo-
rreados. 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 pe-
queos. Sol Santoro
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
BAFICITO
During a school trip to an amusement park, Toni and her class-
mate Suvi discover the Heavysaurus, a group of creatures who
only care about food and hard rock.
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 prov-
en that music for children can spare smiley clowns and pink-
dressed princesses. Covered in leather and pins, Heavysaurs
is the rock and roll face of childrens tantrums and wishes. SS
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
151
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.
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 Monstruolan-
dia). En primer lugar, juega con Molly: pap y mam se olvida-
ron 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
LOS DIRECTORES / THE DIRECTORS
Ted Sieger: Naci en Coquimbo, Chile, en 1958. Cre libros ilustra-
dos 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 pres-
ent for his little brother, she decides to take it to him through
mountains, canyons, and oceans.
The colors in Molly Monster are loud, but happily loud: they are
half way between the crayon scratches a kid makes on his birth-
day, 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 after-
noon film snack: warm and unique. JMD
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

MUNE: LE GARDIEN
DE LA LUNE
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.
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 anima-
cin, el 2D la animacin a mano se cubre en su posible animation, 2D handmade animation covers itself in its
inventiva. Malas noticias para el 2D: Mune usa modos digita-
les para crear imgenes y personajes que suelen asociarse a
inventivas ms plsticas, ms elsticas y, seamos sinceros, with more plastic, elastic, and to be honest memorable cre-
ms memorables. Sus personajes, entre ellos el Mune del
ttulo, son habitantes de un mundo de guerreros y naturale-
zas 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
BAFICITO
+8 EDAD SUGERIDA
SUGGESTED AGE
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.
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
creative capacity. Bad news for 2D: Mune uses digital ways
to create images and characters that are usually associated
ations. 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 jour-
ney still has a lot to offer. JMD
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
153
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.
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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
We tend to forget that comic books are always in two dimen-
sions. 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 child-
like 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
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

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 come-
dia 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
BAFICITO
+8 EDAD SUGERIDA
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 situa-
tion 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
155
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.
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 su-
cede). 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 especial-
mente para nosotros. Juan Manuel Domnguez
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 pri-
mal 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
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

WHEN MARNIE WAS THERE
Omoide no Mn
El recuerdo de Marnie
Una nia vive con sus padres adoptivos y no tiene ninguna
amiga, hasta que conoce a Marnie. Pero cuando esta desapa-
rece, la llegada de una nueva familia a la regin parece ser la
clave para resolver el misterio.
A veces vemos las pelculas del Studio Ghibli simplemente por-
que 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
HIROMASA YONEBAYASHI
Naci en Ishikawa, Japn, en 1973. Estudi diseo comercial en la
Escuela de Arte de Kanazawa. Trabaj en los departamentos de anima-
cin 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
BAFICITO
+12 EDAD SUGERIDA
SUGGESTED AGE
A girl lives with her adoptive parents and has no friends,
until she meets Marnie. But when she disappears, the ar-
rival of a new family to the region seems to be the key to
solving the mystery.
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-di-
mensional 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
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
157
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 con-
sigue 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 pro-
pician la aparicin de un ser mgico que habita en el parque.
Una invitacin a jugar al aire libre, lejos de pantallas ilumina-
das, 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 Se-
villa, 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
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 Navi-
dad, which was followed by many more.
158 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Vik has a hard time making friends, and every time she suc-
ceeds, her father is transferred to another city and she has to
start all over again. After her latest move, she meets two chil-
dren with whom she starts a great friendship, and their games
cause the appearance of a magical being that lives in the park.
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 reminis-
cences 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 re-
sponsible 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
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
 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 ama-
ble pero tambin consistente. En lugar de regodearse en s
misma, la animacin excelsa se vuelve comedia fsica; la ca-
racterizacin 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 every-
thing 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 ani-

macin 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 man-
chados 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 Aard-
man, whether its hands are dirty or on a keyboard, is a com-
pany of ideas rather than formulas. Without being a miracle, its
a perfect gift to the anesthetized digital cinema. JMD
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

160 [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 retor-

no a la animacin con plastilina cuadro por cuadro y, segundo,
una de piratas. Otra vez Aardman toma formas que a simple
Reino Unido / Estados Unidos - UK / US, 2012
vista no pareceran provocar alegra instantnea (juega con un
88 / DM / Color / Espaol - Spanish
molde de piratas al estilo Vincente Minnelli), y logra concentrar
no solo las virtudes de la comedia sino tambin un sentido del D: Peter Lord, Jeff Newitt G: Gideon Defoe E: Justin Krish
absurdo perfectamente maleable y coherente. Piratas! confir- DA: Norman Garwood M: Theodore Shapiro P: Julie Lockhart,
ma que, cuando Aardman aborda, solo nos queda sonrer. JMD Peter Lord, David Sproxton I: Hugh Grant, Martin Freeman,
Imelda Staunton, David Tennant, Salma Hayek
Aardmans first 3D adventure is, firstly, a return to stop-motion
Claymation and, secondly, a pirate movie. Once more, Aardman Contacto / Contact
takes forms from which it would seem impossible to provoke Aardman Animations. Anna Lewis
instant joy (playing with a Vincente Minnelli-style pirate mold) T +1 117 984 8485
and succeeds in concentrating not only virtues and possible W aardman.com
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

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 es-
pectacular 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 Reino Unido / Francia - UK / France, 2015
pandilla se vuelcan en un cine tremendamente puro, y eso, 85 / DM / Color / Espaol - Spanish
ms que una leccin, es un disfrute real del medio. Buster D, G: Mark Burton, Richard Starzak F: Charles Copping,
Keaton hecho lana, Harold Lloyd ovino: Aardman actualiza su Dave Alex Riddett E: Sim Evan-Jones DA: Matt Perry
leyenda sin ceder ni un centmetro de su integridad. JMD M: Ilan Eshkeri I: Justin Fletcher, John Sparkes,
The second most famous of Aardmans creations makes its Omid Djalili, Richard Webber, Kate Harbour
jump from TV to film. In a planet where the digital rules, wheth- Contacto / Contact
er its in a spectacular or pertinent way, Aardman returns to Aardman Animations. Anna Lewis
clay and stop-motion animation. And not because theyre stub- T +1 117 984 8485
born, but because theyre in love with it. In fact, with almost no W aardman.com
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. Bust-
er Keaton in wool, an ovine Harold Lloyd: Aardman updates its
legend without losing an ounce of integrity. JMD

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 161

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 construc-
tor, 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 pu-
blicidades 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 ro-
mntica de pureza, cinefilia, dedicacin y cierta alegra quijo-
tesca (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
VISION ON FILM
Inglaterra, 1975 / 1 / DM / Color / Ingls English
D: Peter Lord
MORPH - GRAN MORPHS
HOME MOVIES
Inglaterra, 1980 / 5 / DM / Color / Ingls English
D: Peter Lord
CREATURE COMFORTS
Inglaterra, 1989 / 5 / DM / Color / Ingls English
D: Nick Park
WALLACE & GROMIT - THE
WRONG TROUSERS
Inglaterra, 1993 / 30 / DM / Color / Ingls - English
D: Nick Park
162 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 charac-
ters, 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 frame-
by-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
ANGRY KID - BONE
Inglaterra, 1998 / 1 / DM / Color / Ingls - English
D: Darren Walsh
PURPLE & BROWN - WHISTLER
Inglaterra, 2006 / 1 / DM / Color / Ingls - English
D: Rich Webber
DOT
Inglaterra, 2010 / 2 / DM / Color / Ingls - English
D: Sumo Science Aardman Animations
FLY
Inglaterra, 2010 / 3 / DM / Color / Ingls English
D: Jay Grace
DC NATION - DCS WORLDS
FUNNEST EP01
Inglaterra, 2011 / 1 / DM / Color / Ingls - English
D: Richard Webber
 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
D: Peter Lord
THE PIRATES! IN AN
ADVENTURE WITH SCIENTISTS! - RAYS BIG IDEA
SO YOU WANT TO BE A PIRATE 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

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 163

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 h-
roes 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
A MATTER OF LOAF AND DEATH
Inglaterra, 2008 / 29 / DM / Color / Ingls - English
164 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 Ham-
mer, Bill Murray, and a warmth and cleverness only Bugs Bun-
ny 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
 CLSICOS BAFICITO / LITTLE
LA MQUINA QUE
HACE ESTRELLAS
2012 / Argentina / 80 / D: Esteban Echeverra
La primera pelcula argentina de animacin en 3D es tambin
una amable adaptacin del mito del hroe. Pilo es un nio ex-
traterrestre. Ama los relatos y la aventura, y quiere conocer
esas estrellas que ve desde su asteroide. Finalmente, la leyen-
da de su abuelo sobre una mquina que genera estrellas todas
las noches lo lleva a cumplir sus sueos.
The first animated 3D film made in Argentina is also a kind de-
piction 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.
ANINA
2013 / 80 / Uruguay - Colombia
D: Alfredo Soderguit
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.
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, ten-
derness, and a visual beauty unlimited by its lack of resources.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
BAFICITO
BAFICI
- AARDMAN
CLASSICS
RODENCIA Y EL
DIENTE DE LA PRINCESA
2012 / Per - Argentina / 85 / D: David Bisbano
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.
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.
MINSCULOS
2013 / 89 / Francia
D: Thomas Szabo, Hlne Giraud
El picnic ha terminado intempestivamente. Al alcance del ojo
humano, nada sucede. Pero esos preciados restos se convier-
ten 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.
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 Minscu-
los films inventiveness was celebrated around the world.
165
 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 Holanda - Netherlands, 2014
catastrfico ltimo da de los dinosaurios. 44 / DM / Color / Espaol - Spanish
Dinosaurs at Dusk is a learning adventure of a father and his D, G, DA, PE: Robin Sip F: Peter Geerts, Leon Verschoor
daughter Lucy, who share a fascination for all things that fly. E: Leon Verschoor, Robin Sip S: Bob Kommer Studios
Youll travel back in time to meet the pterosaurs and the ances- M: Mark Slater CP: Mirage3D I: Anne Rats, Rick Verstraten
tors of modern-day birds: the feathered dinosaurs. Lucy and
her father navigate from continent to continent, looking for Contacto / Contact
clues about the origins of flight. When time runs out they ex- Mirage3D. Akemi Makado
T +31 70 345 7500
perience firsthand the cataclysmic last day of the dinosaurs.
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 inaugu-
rar en 2017.
This stunning 30-minute voyage through time and space con-
veys, through an arresting combination of sights and sounds,
the Universe revealed to us by science. The show was pro-
duced for the European Southern Observatorys Supernova Alemania - Germany, 2015
Planetarium and Visitor Centre, to be opened in 2017. 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

168 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 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 Chi-
na. 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 des-
pegan en un viaje imaginario a la luna y, luego de volver a la
Tierra, descubrirn que, vivamos donde vivamos, todos com-
partimos el mismo cielo. Estados Unidos - US, 2009
25 / 4k / Color / Espaol - Spanish
Young audiences will be thrilled to find themselves on Sesame
Street with Big Bird and Elmo! The fun begins when Elmos D: Ken Diego G: Annie Evans F: Bill Berner
friend, Hu Hu Zhu, visits from China and the three stargaz- E: Marsha Moore-McKeever DA: Patrick McPike
ing friends embark on an exciting journey of discovery to learn S: Blake Norton M: Jeff Moss P: Christina Delfico
PE: Christina Delfico CP: Adler Planetarium, Sesame Workshop,
about the Sun, the Big Dipper, and more. Elmo and Hu Hu Zhu
Beijing Planetarium, Liberty Science Center
blast off on an imaginary trip to the Moon and after they return
home to Earth, everyone discovers that, no matter where we Contacto / Contact
live, we all share the same sky. 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, sym-
phonic orchestras and cosmic images combine into an
exciting show. Get hypnotized by the greatest symphonic Alemania - Germany, 2015
Rock-hits of the last decades. To the driving sound of many 50 / 4k / Color
of the greatest legends of rock we let ourselves be carried
away to the only place that is even more infinite than the D, G, E, DA, P: Robert Sawallisch S: W. Don Eck CP: Sternevent
universe: our own imagination. Contacto / Contact
Sternevent. Robert Sawallisch
T +49 364 188 5431
E robert.sawallisch@planetarium-jena.de
W planetarium-jena.de

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 169

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 estu-
vo 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 inven-

cin 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 co-
razn y nuestro sistema digestivo. Tambin debern ayudar a
que el cuerpo luche contra un invasor que intentar provocarle
graves enfermedades. Espaa - Spain, 2013 / 28 / 4k / Color / Espaol - Spanish
After a mysterious meeting and with the help of a wonderful
D: Mark Brownlow CP: 3Duno
invention, The Virtual Reality Room, three children and a dog
will learn firsthand about the incredible machine that is the hu- Contacto / Contact
man body. They will learn how the sense of sight works, about Reef Distribution
the brain, the hearts mechanics and our digestive system. T +49 891 8908 2699
They will also have to help the body to fight off an invader who E info@reef-distribution.com
will try to provoke bad illnesses. W reef-distribution.com ~ facebook.com/amigoslaserie

170 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 CINE PLANETARIO

KALUOKAHINA, THE
ENCHANTED REEF
Kaluokahina, el arrecife encantado

La inmensidad de los ocanos de nuestro planeta guarda se-

cretos. Uno de los ms preciados es Kaluokahina, el arrecife
encantado cuya magia lo protege de que los humanos lo en-
cuentren. Los coloridos habitantes de Kaluokahina han vivido
siempre en paz, hasta que el volcn entra en erupcin y el he-
chizo 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
Alemania - Germany, 2004 / 32 / 4k / Color
un pez tocar la luna? Espaol - Spanish
The vastness of our planets oceans guards secrets. One of
D, G: Peter Popp E: Raul Erdossy DA: Daniel Ploechinger
its most precious is Kaluokahina, the enchanted reef whose
M: Florian Kppler, Daniel Requard CP: Softmachine
magic protects it against humans finding it. Kaluokahinas col-
orful inhabitants have thus always lived in peace until the vol- Contacto / Contact
cano erupts, and the spell is broken. Now its up to the young Reef Distribution
sawfish Jake and his paranoid pal Shorty to restore that magic. T +49 891 8908 2699
Their only lead: the ancient legend that tells of touching the E info@reef-distribution.com
moon. But how is a fish supposed to touch the moon? W reef-distribution.com ~ kaluokahina.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 171

 PAS INVITADO: ESTADOS UNIDOS
GUEST COUNTRY: UNITED STATES

FUNCIN DE CLAUSURA / ARQUITECTURA / RESCATES / RESCUES

OPENING NIGHT ARCHITECTURE Film
Miles Ahead TELOS: The Fantastic World La chica de rosa
of Eugene Tssui
Notfilm
COMPETENCIA INTERNACIONAL /
INTERNATIONAL COMPETITION COMER Y BEBER /
Creative Control EAT & DRINK PETER BOGDANOVICH
In Defense of Food La ltima pelcula
COMPETENCIA VANGUARDIA Luna de papel
Y GNERO / AVANT-GARDE AND HACERSE GRANDE / Mralos morir
GENRE COMPETITION COMING OF AGE One Day Since Yesterday:
Bone Tomahawk God Bless the Child Peter Bogdanovich & the Lost
Solitary Acts The Diary of a Teenage Girl American Film
Something Between Us
Qu pasa, doctor?
MSICA / MUSIC
BAFICITO / LITTLE BAFICI Terapia en Broadway
American Epic Trilogy
El gigante de hierro Tom Petty and the Heartbreakers:
I Saw the Light
Runnin Down a Dream
Junun
PLANETARIO / PLANETARIUM Michael Jacksons Journey from
CINEMA Motown to Off the Wall RICK ALVERSON
One World, One Sky: Big Birds The American Epic Sessions Entertainment
Adventure
The Damned: Dont You Wish That New Jerusalem
Waiting Far Away
We Were Dead
The Builder
The Jazz Loft According to W.
TRAYECTORIAS / CAREERS Eugene Smith The Comedy
Grandma
Little Men PASIONES / PASSIONS BOB BYINGTON
Funny Bunny 7 Chinese Brothers
CINEFILIAS / CINEPHILIAS
Harmony and Me
Harold and Lilian. A Hollywood
ARTES / ARTS RSO (Registered Sex Offender)
Love Story
Uncle Howard Somebody Up There Likes Me
Hitchcock/Truffaut
The 1000 Eyes of Dr. Maddin
NOCTURNA / LATE NIGHT
MATTHEW BARNEY
PERSONAS Y PERSONAJES / Green Room
Cremaster 1 - 5
PEOPLE & CHARACTERS The Missing Girl
Linefork
Nuts! LUGARES / PLACES MICHEL LEGRAND
Our Nixon Las Vegas in 16 Parts El caso Thomas Crown

172 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

TRAYECTORIAS
CAREERS
CAREERS
11 MINUTES
11 minut
11 minutos
Mltiples historias suceden y se cruzan en la moderna Varso-
via, y demuestran todo lo que puede acontecer en un tiempo
breve pero suficiente para proporcionar un fascinante frenes
a una pelcula joven y arriesgada.
Estirar el tiempo, multiplicar las historias para que el relato re-
grese a los mismos instantes. Pero con ninguna concesin al
tedio y con un combate denodado contra la obviedad y el sim-
ple 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 sim-
plemente 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 pelcu-
la imperdible. Javier Porta Fouz
JERZY SKOLIMOWSKI
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 direct-
ed 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 in-
terests. 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
Polonia / Irlanda - Poland / Ireland, 2015
81 / DCP / Color / Polaco / Ingls - Polish / English
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

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, inmi-
grantes que no pueden regresar a sus pases, pero tampoco
tienen un futuro en 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, iner-
tes, 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 gestuali-
dad 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 genero-
sos y extremadamente emocionantes de su carrera. Fran Gayo
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
TRAYECTORIAS
Avi Mograbi decides to start a theater workshop in a deten-
tion center located in the Israeli desert near the Egyptian bor-
der, which holds people from Eritrea and Sudan, immigrants
who arent able to return to their countries and dont have a
future in Israel.
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 be-
come 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 gener-
ous and extremely emotional films of his career. FG
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
175
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.
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 mun-
do. 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
DENIS CT
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
A dream and a (social class) nightmare, a free representation of
a conscience exam (for the character or the filmmaker), a mate-
rialist allegory with echoes of Greek mythology, and maybe also
an emotional torture for powerful people in the world. Unclassifi-
able, this is an undeniable film by Denis Ct.A powerful Russian
businessman has to deal with the melancholic depression suf-
fered by his wife, a government cabinet member. Beatrices cata-
tonia 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
Canad - Canada, 2016 / 93 / DCP / Color
Francs / Ingls / Ruso - French / English / Russian
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

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 fran-
quismo 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
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 re-
membered areas, and the conversations with neighbors who
reveal in a natural way the repression against Republican activ-
ists 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 of-
ficial 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
177
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 compa-
a durante la travesa, hasta que conoce a Magda.
El rey de La Habana debe tener uno de los comienzos ms te-
rribles 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 des-
aforados. Hay sexo (mucho y desprejuiciado), violencia (de vez
en cuando), hurto (alguno que otro) y hasta un ritual posible-
mente 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 lu-
gar para momentos transitorios de luminosidad. Hernn Schell
AGUST VILLARONGA
Naci en Mallorca, Espaa, en 1953. Es licenciado en Geografa e Histo-
ria. 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 styl-
ist, and a fashion video-maker. He directed several feature-length films,
including El mar (2000) and Black Bread (2010).
178 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Reinaldo is a teenage boy who recently escaped from a peni-
tentiary unit and sets on a journey back home to Havana. Nos-
talgia, rum, and his sense of humor are the only travel mates
he has, until he meets Marga.
The King of Havana must have one of the most terrible begin-
nings 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
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
Foto / Photo: Tudor Lucaciu
EL VECINO
One Floor Below
Un etaj mai jos
Despus de haber sido el nico testigo de una pelea doms-
tica 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.
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 conno-
taciones. Diego Batlle
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 feature-
length films, including Boogie (2008; Bafici 09) and Tuesday, After
Christmas (2011).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
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.
The director of Tuesday, After Christmas starts with a prem-
ise 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
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
179
CAREERS
FRANCOFONIA
Haciendo foco en el Louvre, espacio que las autoridades nazis
decidieron proteger durante la ocupacin que llevaron adelan-
te 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.
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 de-
finitiva, entre el respeto de una cultura compartida y el borrado
de otra, la eslava, a la que se aborreca. Jaime Pena
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 cinema-
tografa 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).
180 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 Wolff-
Metternich.
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 trea-
sures against the destruction orders from his superiors, Soku-
rov 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
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

GAROTO
Kid
Nio
El cineasta brasileo cuenta la historia de amor de dos j-
venes que se encuentran en un lugar encantado en el que
viven un romance. Pero todo cambiar cuando uno de ellos
cometa un delito.
Bressane empieza siempre de nuevo, o hace como si empezara,
con un impulso y una distincin potica que parecen pertene-
cerle solo a l mismo. Un chico y una chica deambulan por un
paisaje que podra ser la representacin ms o menos acre-
ditada 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: arroba-
miento, 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
JLIO BRESSANE
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
The Brazilian filmmaker tells the love story of two young-
sters who meet and have a love affair in an enchanted
place. But everything will change when one of them com-
mits a felony.
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
Brasil - Brazil, 2015
76 / DCP / Color
Portugus - Portuguese
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
181
CAREERS
GRANDMA
Abuela
Elle rompe con su novia Olivia cuando su nieta Sage aparece
inesperadamente pidindole dinero. An dolidas por su sepa-
racin, ambas pasarn todo el da visitando a antiguos amigos,
lo que har que comiencen a develarse secretos del pasado.
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 epi-
sdica 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
PAUL WEITZ
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 pel-
culas 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Elle breaks up with her girlfriend Olivia when her granddaugh-
ter 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 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 mis-
anthropic 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
Estados Unidos - US, 2015 / 79 / DCP / Color / Ingls - English
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

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 surgi-
dos del 15-M.
Con un desapego de dandy y la severidad sensible del que se
zambulle con la misin de retratar un mundo que parece alte-
rarse 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 Po-
demos ofrece al mundo sus primeros balbuceos: retratos de un
universo cotidiano que adquieren en la distancia rasgos obli-
cuos, casi extraterrestres. Informe general II no parece tomar
partido, excepto por el de una falta de certezas radical. La ele-
gancia 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
PERE PORTABELLA
Naci en Figueras, Espaa, en 1929. Con su productora Films 59 estu-
vo 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
TRAYECTORIAS
The latest film by Pere Portabella deals with the political, fi-
nancial, social, and cultural dimensions of the current crisis in
the countrys parliamentary democracy and social movements
emerged after 15-M.
With a dandy-like detachment and the sensible severity of those
who dive on a mission to depict a world that seems to be con-
stantly changing, Pere Portabella captures free, uncompromised
images of municipal affairs that could have been tempered with
by an enchanted contemplation. Fervent demonstrations at Ma-
drids Puerta del Sol, assemblies, camps, marches of Catalo-
nian 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
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
183
CAREERS
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 Ce-
lestine va anotando en su diario ntimo los acontecimientos de
su llegada a una gran mansin como sirvienta de una familia
burguesa.
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
BENOIT JACQUOT
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).
184 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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
Francia / Blgica - France / Belgium, 2015
95 / DCP / Color / Francs - French
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

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.
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 per-
sonaje 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 profe-
sora 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 Hansen-
Lve nos presenta a sus personajes, tanto como la agilidad con
la que LAvenir est narrada. Jaime Pena
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
TRAYECTORIAS
Nathalie teaches philosophy in a Paris high school. Shes mar-
ried 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.
Set in 2010, still during Sarkozys presidency, Mia Hansen-
Lves Things to Come talks about the intellectual backdrop of a
time of continuous change; those experimented by the charac-
ter 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
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
185
CAREERS
LA ACADEMIA DE LAS MUSAS
The Academy of the Muses
Un profesor de filosofa es interrogado por su mujer, quien des-
confa 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.
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 atravesa-
dos 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 se-
duce y enamora a sus alumnas. La pelcula construye una per-
fecta 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
JOS LUIS GUERN
Naci en Barcelona en 1960, y en 1983 debut como director con Los moti-
vos de Berta. Luego dirigi una decena de largos, entre los que se desta-
can 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 cine-
matografa 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A philosophy professor finds himself interrogated by his wife,
since she doesnt trust the pedagogical approach of an edu-
cational 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.
The Academy of the Muses is a unique experience that ques-
tions, 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 sen-
sitive 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 occasion-
ally rainy, or sunny. Master Guern seduces us again, melting life
and art into an unforgettable film. MG
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

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.
Es que acaso la experiencia no cuenta?, pregunta en La ca-
lle 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 expresionis-
ta, 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 mise-
ria 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
ARTURO RIPSTEIN
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 assis-
tant 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)
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
Inspired in the real events that grabbed headlines in 2009, the
mythical Mexican director tells the story of two unlucky pros-
titutes who accidentally murdered two midget wrestlers on a
night when nothing went right.
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
Mxico / Espaa - Mexico / Spain, 2015 / 100
DCP / B&N / Espaol - Spanish
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
187
CAREERS
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 so-
ado y se permiten dejar en silencio todo aquello que pareca
ser una dificultad.
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 ex-
ploracin 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
CLAIRE SIMON
Naci en Londres en 1955. Se desempea tambin como actriz, direc-
tora de fotografa y montajista. Dirigi varios cortometrajes, documenta-
les 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, cinema-
tographer, and film editor. She directed several short films, documenta-
ries 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 suc-
cessive 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
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

LITTLE MEN
Pequeos hombres
Dos chicos de orgenes distintos conviven en un edificio de
Brooklyn, forjan una amistad y deambulan juntos por la ciudad.
Una fbula con dos protagonistas involuntarios, Jake y Tony, dos
chicos de unos 13 aos que, a medida que descubren sus ml-
tiples afinidades, son testigos del enfrentamiento entre sus res-
pectivos 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 es-
tos, 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
IRA SACHS
Naci en Memphis, Tennessee, en 1965. Estudi literatura y teora cine-
matogrfica 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 graduat-
ing. He directed several films, including The Delta (1997), Forty Shades
of Blue (2004; Bafici 12), and Keep the Lights On (2012).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
TRAYECTORIAS
Two kids with different origins who live in the same Brooklyn
building become friends and wander around town together.
A fable with two involuntary protagonists, Jake and Tony, two
kids of about 13 years of age who, while discovering their mul-
tiple things in common, must witness the confrontation between
their respective parents. The dispute covers economic aspects,
but also generational; opposing ways of understanding friend-
ship 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 under-
stand 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 tradi-
tional happy ending. JP
Estados Unidos - US, 2016 / 85 / DCP / Color
Ingls / Espaol - English / Spanish
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
189
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.
Ex adicta, madre coraje, metedora de pata compulsiva, orgu-
llosa 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 de-
monios 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 protago-
nismo 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 su-
cesos, sino la inquebrantable persistencia de una batalla sufrida
y usualmente annima. Juan Pablo lvarez
HELENA TRESTKOV
Naci en 1949 en Praga, entonces Checoslovaquia. Se gradu en el
Departamento de Cine Documental en la FAMU de esa ciudad. Se desem-
pe como Ministra de Cultura de su pas, y dirigi numerosos documen-
tales, 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 her-
self up from her drug addiction and find a place to live other
than the street.
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 de-
mons, 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
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

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.
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 me-
moria borrable de Eterno resplandor de una mente sin recuer-
dos 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 fl-
mico, Microbe et Gasoil est yendo con Enid de Ghost World a
visitar a Harold y Maude. Jordan Hoffman
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
Two young friends embark on a trip the highway across France
in a vehicle they built on their own.
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 diora-
mas are wonderful in their own way, Gondrys wily style grows
from the mess of real life. Somewhere in movie paradise Mi-
crobe et Gasoil are taking a trip with Enid from Ghost World to
visit Harold and Maude. JH
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
191
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.
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 con-
forman 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 dema-
siado 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
JOHNNIE TO
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 internacio-
nalmente 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 inter-
nationally renowned films.
192 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The Hong Kong master offers a cinematic and dazzling trans-
formation of Sylvia Changs hit play Design for Living in a spec-
tacular musical film about intrigues in the corporate world.
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 cam-
era 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 say-
ing: when recession is inevitable, relax and enjoy. FEJL
Hong Kong / China, 2015 / 119 / DCP 3D / Color
Cantons / Mandarn - Cantonese / Mandarin
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

RIGHT NOW, WRONG THEN
Jigeumeun matgo geuttaeneun teullida
Ahora bien, antes mal
Hong Sang-soo realiza otro de sus ingeniosos juegos tempo-
rales, y cuenta dos variantes de la misma historia. Chunsu es
un director de cine que llega a Suwon y conoce a Heejun, una
pintora.
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 cineas-
ta 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 evi-
dencian 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
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.
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 dia-
logue 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 varia-
tions on the usual subjects. FEJL
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
193
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.
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 Inqui-
sicin. 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 feal-
dades 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
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 matri-
moni (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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In a remote past, the Church tries to find out if a woman ac-
cused 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.
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 cin-
ematograhic 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 cin-
ema; 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
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

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 in-
esperado.
Un ttulo clarsimo. Un seor contra otro. Y un puado de per-
sonajes 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
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 compa-
nies 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
TRAYECTORIAS
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.
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 profes-
sionalism 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
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
195
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.
Basada en una novela de Lewis Grassic Gibbon de ttulo hom-
nimo, la penltima pelcula del gran Terence Davies cuenta la
historia de una joven mujer llamada Chris que vive con su fami-
lia 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
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 autobio-
graphical 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Story of a family of Scottish farmers formed by four children
and a mother who live repressed under their fathers authori-
tarianism. A classic melodrama told from the point of view of
the older sister during her evolution from teenager to woman.
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
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

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 pien-
san, qu desean y cmo viven son solo algunos de los ca-
minos recorridos en las conversaciones que encar junto a
estudiantes brasileros.
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 con-
versar con el pblico cuando vino al DocBuenosAires a pre-
sentar 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
TRAYECTORIAS
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.
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 direc-
tor, 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 en-
tire work. LM
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
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 r-
boles 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 per-
fecte 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 prodi-
gioso 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 prem-
ise, 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
 TRAYECTORIAS

PREMIERE MUNDIAL / WORLD PREMIERE

INSCRIPCIONES
Inscriptions

No creo que pueda decir algo demasiado significativo acer-

ca 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 Argentina, 2015 / 19 / DM
el texto como imagen y sentido. Y trata de abordar la necesi- Color & B&N / Espaol - Spanish
dad inherente al hombre de construccin de sentido ante la D, G, P: Narcisa Hirsch F: Narcisa Hirsch, Clara Fras, Daniela Muttis
invisibilidad existencial. Narcisa Hirsch E: Clara Fras S, M: Nicols Diab CP: La Medina
I dont think I can say anything too significant about Inscrip- Contacto / Contact
tions. I dont understand much myself. I know the film comes La Medina. Narcisa Hirsch
from somewhere unknown, that it comes from outside, that T +54 9 11 5021 1372
its an inspiration. This happens to me with all the films I make E danielamuttis@gmail.com
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

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 exhibie-
ron 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 filmmak-
ers 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).

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 199

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.
La intimidad de Raoul Ruiz, el gran cineasta chileno, resulta
apasionante: era un gran conversador, con conceptos muy cla-
ros, 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 apasio-
nante 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
ALEJANDRA ROJO
Naci en Buenos Aires en 1966. Tiene un mster en Cine de la Universi-
dad 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.
202 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Alejandra Rojo sketches a portrait of the Chilean filmmaker, who
took up exile in France during the 73 coup dtat. He uses frag-
ments from films, interviews and testimonies in order to account
for the man who created an ironic, unclassifiable body of work.
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
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
 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 18 th1929, 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 Quan-
do 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).
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

BACK TRACK PREMIERE LATINOAMERICANA / LATAM PREMIERE

Una exhibicin de brillantez tcnica alrededor de un relato muy

complejo armado con imgenes y sonidos de ms de 25 pel-
culas. La trama est entretejida sin costuras, narrada comple-
tamente 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.
Austria, 2015/7 / DCP 3D / B&N/Ingls - English
As how piece of technical brilliance involving a highly com-
plex story woven out of images and sounds from over 25 D, G, E, P: Virgil Widrich F: Bernhard Schlick S: Frdric Fichefet
feature films. The plot is seamlessly interwoven, narrated by CP: Film and Multimedia Productions GmbH
an off-screen voice: a woman and several men (a writer, a Contacto / Contact
womanizer, a criminal?), each hopelessly under the spell of Sixpackfilm
the siren-like lady. T +43 1526 0990 E office@sixpackfilm.com
W sixpackfilm.com ~ widrichfilm.com
VIRGIL WIDRICH
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 de-
vino en industria. Y, de paso, un vistazo a las posibilidades de
su desarrollo en 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
MARIANO TORRES NEGRI
Naci en Buenos Aires en 1984. Es licenciado en Comunicacin Audiovi-
sual 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 indus-
try since 2006. Going Down is his first feature.
LISANDRO LEIVA
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.
204 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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, film-
makers 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
Argentina, 2016 / 107 / DM / Color
Espaol - Spanish
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
Contacto / Contact
Big Pig Films. Mariano Torres Negri
T +54 9 11 6003 1813 E contactobigpig@gmail.com
W bigpigfilms.com ~ audazseeleva.com

EL PERRO DE ITUZAING
Ituzaing Dog
Documental acerca del emblemtico cineasta independiente
Ral Perrone, radicado en la localidad bonaerense del ttulo.
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 Patri-
cio 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 mien-
tras transcurre esta pelcula, descubriremos que siempre fue
y ser verdad. Josefina Garca Pulls
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 televi-
sion. He directed short films, video-dance pieces, music videos and
animations.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
CINEFILIAS
A documentary about emblematic independent filmmaker Ral
Perrone, who lives in the area of greater Buenos Aires men-
tioned in the title.
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 docu-
mentary, Spanish director Patricio Carroggio a captivated film-
maker 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, obses-
sive, 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 dur-
ing this film, we will find out they were always true, and always
will be. JGP
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
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.
El ltimo verano, de Leire Apellaniz, tiene el peso material del do-
cumento 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 pro-
yecciones 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, em-
palmadoras. 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 APELLANIZ
Trabaj en numerosos festivales de cine, y actualmente es la responsable
del Departamento Tcnico del Festival de Cine de San Sebastin. Parale-
lamente, 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 audio-
visual projects through her production company Seor y Seora.
206 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Every summer night, in some Spanish towns, locals and tour-
ists 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.
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
Espaa - Spain, 2016 / 93 / DCP / Color / Espaol - Spanish
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

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 flo-
tan en el aire.
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 inicia-
dos), 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
JOS LUIS TORRES LEIVA
Naci en Santiago de Chile en 1975. Dirigi numerosos cortos y docu-
mentales, 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
CINEFILIAS
A filmmaker arrives in Chilo one of the largest islands in
the Chilean coast and plans his next film. Between audi-
tions and location scouting, he makes his way through the
stories he spies on, while observing the links and tensions
that float in the air.
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 nar-
rator and trigger for this film completes a piece that, just like
Bressons wind, blows in any direction it wishes to do so. MA
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
207
CINEPHILIAS
FAVIO: CRNICA DE UN DIRECTOR
Favio, Chronicle of a Director
A mediados de 2009, Favio concedi una entrevista que per-
maneci indita y en la que habl exclusivamente de cine. El
resultado fue una clase magistral, y este documental la recu-
pera, buscando echar luz sobre la mirada personal del reali-
zador argentino.
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, pero-
nista 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 hom-
bre 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 ami-
gos 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)
ALEJANDRO VENTURINI
Nacido en Lomas de Zamora en 1986, estudi direccin en la Universi-
dad 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 tele-
vision documentaries. He also worked in the sound and camera depart-
ments in documentary features such as The Other Football (2012) and
Take It from Chango (2014).
208 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In early 2009, Favio gave an interview that remained unre-
leased 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.
There are very few icons in Argentine culture capable of ap-
pealing 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 char-
acters, finds its well-deserved tribute. GS (30 th Festival de Mar
del Plata Catalogue)
Argentina, 2015 / 120 / DM / Color & B&N / Espaol - Spanish
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

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 du-
rante la edad de oro de Hollywood, incluyendo Piso de soltero,
Los pjaros y El graduado. Pero sus contribuciones permane-
cen en gran medida sin acreditar.
El cine nos ense que el amor autntico deba ser turbulento. Cinema has taught us true love must be turbulent, a devote
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 mons-
truos 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 eviden-
cia, a travs de entrevistas y dibujos monocromticos, que las
grandes historias de amor no siempre se encuentran delante de
cmara. Maia Debowicz
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 nomina-
do 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
CINEFILIAS
Harold and Lilian worked in hundreds of iconic films dur-
ing the golden age of Hollywood, including The Apartment,
The Birds and The Graduate. But their contributions remain
mostly unaccredited.
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 de-
cades 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
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
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.
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 pe-
lculas 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Dont enter this film expecting to find risk or formal approaches
away from the most conventional canons of documentary film-
making. When youre dealing with material like the famous
interviews Franois Truffaut did to Alfred Hitchcock, you practi-
cally 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 au-
teur. 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
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

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.
Basta de buscar subsidios, financiamiento, salas, horarios im-
posibles 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 pa-
sin puede barrer con todo lo dems. Sol Santoro
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 largometra-
jes, 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
CINEFILIAS
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.
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 comfort-
ing. 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
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
211
PREMIERE AMERICANA / AMERICAN PREMIERE
CINEPHILIAS
O ESPECTADOR ESPANTADO
The Amazed Spectator
El espectador espantado
El director portugus realiza una investigacin sobre el espec-
tador, que abarca desde El ciudadano vista en un telfono m-
vil hasta un partido de ftbol proyectado en una sala de cine,
mezclados con entrevistas a crticos, directores y cinfilos.
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 ac-
tualiza 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 cria-
turas 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
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 feature-
length films, including O Baro (2011) and 3x3D (together with Jean-Luc
Godard and Peter Greenaway; 2013, Bafici 14).
212 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 follow-
ing 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 night-
mares as soon as they feel like it. AM
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

PORNO E LIBERT
Porn to Be Free
Porno y libertad
A partir de material de archivo y entrevistas, este documen-
tal 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 polti-
cas, 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 des-
parpajo 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 evo-
lucin y la exprime va archivos genitales y testimonios repara-
dores. Y que, si bien se trata de un trabajo de rigor histrico, no
renuncia al bendito arte de calentar. Hernn Panessi
CARMINE AMOROSO
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
CINEFILIAS
Through stock footage and interviews, this documentary play-
fully tells of the sexual revolution and the rise of porn that took
place in Italy in the late 70s and 80s, where battles for politi-
cal, 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 car-
ried 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
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
213
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 teatra-
les innovadoras.
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 argen-
tina. Cul era el secreto? Lpiz, papel, culo y silla. Lo dems, What was his secret? Pen, paper, and ass on the chair. The rest
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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 was a great man (he passed away in 2009),
one of those precious architects of culture that are usually under-
rated 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.
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 piec-
es, or pictures from his family album. Saru is both a heartfelt and
thorough portrait of this brilliant mind of Argentine culture. MC
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

SIN DEJAR RASTROS
Without a Trace
La pera prima de Kartaszewicz retrata la vida y obra del ci-
neasta Quirino Cristiani (1896-1984), animador, dibujante e
historietista talo-argentino, creador de El apstol (1917), pri-
mer largometraje de animacin del mundo, cuya obra se ha
perdido casi por completo.
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 di-
bujos 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 recha-
zar 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
DIEGO KARTASZEWICZ
Naci en Argentina en 1981. Estudi cine y se gradu en el CIEVYC en
2006. Actualmente se desempea como productor y realizador audiovi-
sual en el Centro de Produccin Audiovisual de Quilmes, abocado funda-
mentalmente a la realizacin de documentales.
He was born in Argentina in 1981. He studied filmmaking and gradu-
ated at CIEVYC in 2006. He is currently a producer and director at the
Quilmes Audiovisual Production Center, where he mainly works with
documentaries.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
CINEFILIAS
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.
Together with the rolling pen and the fingerprinting system, Ar-
gentina 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 to-
gether, 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
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
215
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 his-
torias de naufragios, fantasmas, amores y vampiros, mientras
dejan que el espectador establezca los nexos entre las voces y
los captulos que conforman la pelcula.
Bienvenidos al primer crucero de una hora de duracin. Las
paradas: Murnau, Nosferatu, Stoker y Wilde, entre otras. Pn-
gase cmodo y djese llevar por Almandoz, capitn-director de
esta original travesa cinfila, y disfrute de sus paisajes y es-
pectculos. 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
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 audio-
visual 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
People and characters like Oscar Wilde, Murnau, and Nos-
feratu 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 epi-
sodes that form this film.
Welcome to the first one-hour cruise. The stops: Murnau, Nos-
feratu, Stoker and Wilde, among others. Brace yourself and get
carried away by Almandoz, captain-director of this highly origi-
nal 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 ro-
mance, 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
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

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.
Cuatro amigos, una camioneta, una pantalla inflable y la volun-
tad 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 inhspi-
tas, 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 com-
prueba que s vale la pena darles duro a los deseos personales
aunque no sea ms que para disfrutar del recorrido. Eduardo
D. Bentez
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
CINEFILIAS
A group of four young people travel in a van through deserted
jungle towns, carrying an inflatable film screen and the neces-
sary equipment to screen films in remote places in the country.
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 al-
ways worth it, even if its just to enjoy the ride. EDB
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
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 di-
rector de cine canadiense Guy Maddin, un fantico del cine
mudo, el melodrama y el espiritismo. La cmara de Montma-
yeur se cuela entre bastidores durante la realizacin de su
ltima pelcula, 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 intac-
to. Lo hace sumando otras voces al coro: George Mlis, John
Waters, Isabella Rossellini, Jack Smith, Udo Kier, Fritz Lang, Bu-
uel 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
YVES MONTMAYEUR
Naci en Francia en 1973, y dirigi numerosos largos documenta-
les; 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).
218 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A documentary that enters into the mind of unclassifiable
Canadian filmmaker guy Maddin, who is a fan of silent cin-
ema, melodrama, and sance. Montmayeurs camera goes
behind the scenes during the making of his latest film The
Forbidden Room.
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
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

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.
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 histo-
ria de un tiempo, una ciudad, un pas y una cinefilia. Las figuras
de Andrs Caicedo, Carlos Mayolo y el propio Ospina (nico so-
breviviente 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 est-
tica en literatura, cine, teatro y artes plsticas, marcando as el
camino de toda una generacin. Marina Locatelli
LUIS OSPINA
Naci en 1949 en Cali, Colombia. Realiz, entre otras pelculas, Pura-
sangre (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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
CINEFILIAS
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 essen-
tial to understand Colombias cinema were forged.
Youre never more alive than when you fear death. Facing this
possibility, Luis Ospina decides to revisit his memories. His clini-
cal history triggers his personal history, which in turn enables
the history of a time, a city, a country, and a cinephilia. The fig-
ures 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
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
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.
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 fuer-
za 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 presen-
te 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 g-
nero. Pablo Conde
CHARLIE LYNE
Naci en 1991 y vive en Londres. Trabaja como periodista para The Guar-
dian, 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.
220 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Narrated by former cult teen star Fairuza Balk, this collage-
film places Hollywood high schools under the microscope,
through archive footage from more than 200 American high
school movies.
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 un-
precedented 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 over-
abundance of features starring/for/about teenagers that sum-
marize 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
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

FEAR ITSELF
El miedo en persona
Construido en su totalidad a partir de escenas de distintas pe-
lculas, 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.
Una puerta chirriante, un susurro al odo, un bad trip en la ca-
lle, 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
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
CINEFILIAS - CHARLIE LYNE
Built entirely on scenes from different movies, this film faces
the viewer to a wide range of pictures and sounds from a hun-
dred years of horror cinema, and invites you to find out how
fear works.
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 hun-
dred 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 im-
ages 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
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?
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 restric-
ciones 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 im-
punidad vengativa. La maldice, ahora desde afuera, como un
demonio tras los barrotes que se re de los nuevos presidiarios.
Daniel Alaniz
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 apart-
ment where he lives in the Old Quarter. But, where will he go?
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 Trul-
ln 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 charac-
ter 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
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

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, Ko-
han investiga como si fuera Sherlock Holmes de qu manera la
obra de Enrique Pichon-Rivire provoc semejante fenmeno.
No existiran en Argentina tantos fanticos de Woody Allen de
no ser por Enrique Pichon-Rivire. El Francesito, como le de-
can 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 ce-
mento 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
MIGUEL LUIS KOHAN
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 Sali-
nas grandes (2001), Caf de los maestros (2009), and the series Lluvia
csmica (2015).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
PERSONAS Y PERSONAJES
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 En-
rique Pichon-Riviere caused this phenomenon.
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 col-
leagues, relatives and admirers of Pichon-Rivires work in or-
der 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 psy-
choanalysis does. MD
Argentina, 2016 / 85 / DCP / Color & B&N / Espaol - Spanish
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
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 dia-
lecto toscano hace referencia a un jabal aislado de la manada.
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 aun-
que 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
The main character in this rough and blunt film is a lonely per-
son 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 out-
side Rome. The film is articulated through a series of conversa-
tions 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 with-
out shady areas, no true cinema lacks a mystery with a solution
that is doomed to fail. DO
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

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 en-
frentarn 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, don-
de 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 erti-
ca 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PERSONAS Y PERSONAJES
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 coun-
try, 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
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
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. Aho-
ra, 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.
En el ring puedo quedarme hasta ser viejo y con canas, por-
que 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, ade-
ms 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 encour-
age young people to pursue their dreams, from a small chair
by the side of the ring.
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 Argen-
tine 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 melt-
ing 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
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

LINEFORK
Lee Sexton, quien comenz a tocar el banjo a los 8 aos, pro-
viene de una familia de agricultores de una zona rural de Ken-
tucky, conocida por su pobreza y sus minas de carbn. Esta
figura legendaria es el motor de esta pelcula que recorre su
historia de vida.
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. Ken-
tucky, 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 compli-
cidades; 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
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 instru-
ments, and a teacher.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
PERSONAS Y PERSONAJES
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.
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 for-
gotten 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 con-
crete in the confines of a rural home, as Henry David Thoreau
would have liked. GS
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
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.
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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 ex-
plores 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
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

MURALES. EL PRINCIPIO DE LAS COSAS
Murals. The Beginning of Things
Francisco entrena para cruzar nadando el Ro Paran. La ha-
zaa 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.
Murales aborda un tema ciertamente doloroso con un espritu
desconcertante, ms cerca de la investigacin no del todo em-
peosa 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 desapa-
recido 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
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 Communica-
tion. He also works as an editor and teacher. He debuted in filmmaking
with his short film Pochormiga (2004).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
PERSONAS Y PERSONAJES
Francisco trains to swim across the Paran River. The feat is
almost as big as finishing the documentary he has been mak-
ing for the past eight years about a group of former political
prisoners that paints murals honoring the desaparecidos.
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 lumi-
nous moments, navigates through hazes of light humor, the dis-
couragement 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
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
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.
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
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).
232 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 no-
tion of a country or a continent. FG
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

OUR NIXON
Nuestro Nixon
Pelculas de Super 8 caseras nunca antes vistas, filmadas por
los colaboradores ms cercanos a Richard Nixon y conspira-
dores de Watergate que ofrecen un punto de vista ms ntimo
del famoso caso que involucra al funcionario.
H. R. Haldeman, John Ehrlichman y Dwight Chapin. Tres hom-
bres 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 Viet-
nam. 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 Es-
tados Unidos: Our Nixon es la crnica de tan oscuro recorrido.
Rodrigo Bedoya
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PERSONAS Y PERSONAJES - PENNY LANE
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 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 fasci-
nated 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
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
233
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PEOPLE & CHARACTERS - PENNY LANE
NUTS!
Bolas!
Antes del Viagra haba trasplantes de testculos de cabra, hom-
bres con grandes sueos y un hroe improbable, el Dr. John
Brinkley, cuya extraa historia cuenta este documental animado.
Ver para creer: la excntrica, apabullante, desquiciada historia
del Dr. John Romulus Brinkley (1885-1942), un genio de la es-
tafa 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 fasci-
nacin, 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
234 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Before Viagra, there were transplants of goat testicles, men
with huge dreams, and an unlikely hero named Dr. John Brin-
kley, and his weird story is told in this animated documentary.
You have to see it to believe it: this is the eccentric, overwhelm-
ing, 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 reenact-
ments, Penny Lane lays out a portrait of an impossible charac-
ter, with the right amount of irony and a huge fascination, which
in turn proposes an enthusiastic reflection on that perfectly hu-
man 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
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.
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 pertenen-
cia 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 remoli-
nos de viento, o ese rincn tan particular a la vista, pero imposible
de fotografiar por cmo le da el sol. Daniel Alaniz
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Bka and Lemoine intend to make a video-diary of one month
in the life of Londons Barbican, from the top floors of the tow-
ers to the underground levels of the art center. An intimate
map of this masterpiece of brutalist architecture.
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 sci-
ence 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
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

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 men-
te colectiva de la ciudad alguna vez llamada Puerto de Luna.
El lcido, emptico, ldico mtodo de Bka y Lemoine no solo fun- Bka and Lemoines lucid, empathic, and playful method doesnt
ciona detrs de puertas cerradas. Cualquier espacio tocado por la
arquitectura es susceptible de ser narrado a travs de sus usua-
rios, 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
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
ARQUITECTURA
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.
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 sta-
tus: 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
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 na-
turaleza en primer plano. Lee ofrece un retrato vvido de su
talento y audacia.
Gimnasta olmpico, pianista excelso, artista plstico, disea-
dor de ropa, de joyas y hasta de la vajilla usada en su propia
boda No faltar quien defina a Eugene Tssui como un hom-
bre 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 na-
turaleza 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
KYUNG LEE
Nacida en Yokohama, Japn, en 1979, cuenta con una extensa trayec-
toria 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 post-
production for Link TV and worked in several documentaries. TELOS: The
Fantastic World of Eugene Tssui is her directorial debut.
238 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 na-
ture in the spotlight. Lee offers a vivid portrait of his talent
and audacity.
An Olympic gymnast, sublime pianist, and plastic artist, he de-
signs fashion, jewelry, and even the china used in his own wed-
ding Eugene Tussi could certainly be defined as a Renais-
sance 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
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

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 res-
tauracin de reliquias antiguas, con el fin de fomentar el creci-
miento econmico a travs del turismo y la cultura.
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 pe-
rimetrales 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
ARQUITECTURA
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 res-
toration of antique relics, with the goal of promoting economic
growth through tourism and culture.
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 perim-
eter 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 man-
agement 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
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
239
PREMIERE LATINOAMERICANA / LATAM PREMIERE
ARCHITECTURE
THE LAND OF MANY PALACES
La tierra de muchos palacios
En Ordos, China, miles de agricultores estn siendo reubica-
dos en otra ciudad en virtud de un plan del gobierno para mo-
dernizar 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 Docu-
mental 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 de-
signed, 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 every-
one. The Land of Many Places oscillates between a rigorous bio-
graphical 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

PREMIERE AMERICANA / AMERICAN PREMIERE
LA CUPOLA
El retrato de una casa sin paredes que la sostengan. Una lla-
mativa 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 direc-
tor 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 the words of the director.
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
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
ARQUITECTURA
PREMIERE AMERICANA / AMERICAN PREMIERE
LE CORBUSIER [|||||]
ASGER JORN [RELIEF]
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 Statsgymna-
sium. 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 ideolgi-
cos, 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
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 Orna-
mental (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
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 Argentina / Espaa - Argentina / Spain, 2016 / 15

Naci en 1991 en Buenos Aires, Argentina. Estudi cine documental DM / Color / Ingls - English
en la UNSAM. Realiz varios cortometrajes documentales sobre arte y
D, G, F, E, S, P, PE: Sebastin Pasquet
cultura. Particip de varios festivales internacionales con el documen-
CP: ECSA Espacio Cultural San Andrs I: Annette Gulick
tal Sobre el arroyo. Trabaj como sonidista de varios cortometrajes de
ficcin. Contacto / Contact
He was born in 1991 in Buenos Aires, Argentina. He studied docu- Sebastin Pasquet
mentary filmmaking at UNSAM. He directed several documentary short T +54 9 11 3092 4804
about art and culture. He participated in several international festivals E shpasquet@gmail.com
with his documentary Sobre el arroyo. He worked as a sound designer W sebastianpasquet.myportfolio.com
in several fiction short films.

242 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE


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 Tro-
pical 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 ambien-
tes 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, colo-
ridos como By Way of Display, humanistas y pop como
They y minimalistas como Plan. Con cada pelcula, Karl-
Heinz 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
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
ARQUITECTURA - KARL-HEINZ KLOPF
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 non-
definite: 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 ho-
mes 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 environ-
ments 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
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 opcio-
nes y posibilidades. Cada tanto aparecen fragmentos de e-mails.
Austria, 2000 / 8 / DCP / Color & B&N
Hablan sobre ciudades y son, a la vez, huellas transmisibles de los
respectivos recorridos (laborales), del (auto)posicionamiento y de D, G: Karl-Heinz Klopf, Sigrid Kurz E: Karl-Heinz Klopf, Sigrid Kurz,
los intercambios (en red). Rike Frank Peter Hauenschild DA: Karl-Heinz Klopf S: Karl-Heinz Klopf,
Sigrid Kurz, Wolfgang Dorninger CP: KlopfKurz Vienna
The countdown runs. The camera moves through various levels
of an architectural framework, simulations of walls and hall-
ways emerge, a structure made up of black lines on a white
background. With each additional level, the camera work be-
comes more complex and offers, like a videogame, new op-
tions 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

PREMIERE AMERICANA / AMERICAN PREMIERE

BY WAY OF DISPLAY
Por medio de la exhibicin

En Taiwn, la venta de nueces de areca levemente estimulan-

tes cuando se las mastica dio lugar al desarrollo de una nue-
va 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 Austria / Taiwn - Austria / Taiwan, 2003 / 37 / DCP
como hongos por todo el pas. By Way of Display habla de Color & B&N / Chino / Ingls - Chinese / English
este fenmeno singular haciendo foco en su contexto urbano,
D, G, F, DA, P: Karl-Heinz Klopf E: Karl-Heinz Klopf, Kurt Hennrich
cultural y social.
S: Wolfgang Dorninger M: Radio Asia FM92,7 CP: KlopfKurz Vienna
In Taiwan, the sale of betel nuts a mild stimulant when chewed I: Herng-Dah Bih, Ti-Nan Chi, Neifei Ding, Min-Jay Kang, Cheng-Shen Lin
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 focus-
ing on its urban, cultural and social contexts.

244 [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 desa-
rrolla una narracin propia que lleva a un acercamiento ms Austria / Reino Unido - Austria / UK, 2010
abstracto y transformador a la forma en que puede ser mirado 35 / DCP / Color / Ingls - English
este paisaje. D, G, F, DA, P: Karl-Heinz Klopf E: Tatia Skhirtladze
The portrait of a municipal area in North Liverpool, where an S: Atanas Tcholakov CP: KlopfKurz Vienna
unused hilly park replaced what was once an active, highly I: Adam Byrne, Frank Green, Shirley Hann, Ann Roach, Jane Corbett
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 con-
ditions.They precisely addresses this issue, whilst also devel-
oping its own narration which leads to a more abstract and
transformative approach to how this landscape may be viewed.

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 ges-
tos de personas inmersas en su trabajo, en estrictas condi-
ciones 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 so- Austria / China, 2011 / 30 / DCP / Color
ciedad pueden ser imaginadas con solo mirar el ambiente de Chino / Ingls - Chinese / English
un estudio de arquitectura. D, G, F, DA, P: Karl-Heinz Klopf E: Tatia Skhirtladze
A unique insight into the atmosphere of three architects of- S: Atanas Tcholakov CP: KlopfKurz Vienna
fices in Beijing, Plan shows close ups of people and their ges-
tures, 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 de-
tail 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.

* A pedido del director, la pelcula se proyecta sin subttulos / At the directors request the film is screened without subtitles.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 245

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.
Tower House es una casa construida en 1966, en la ciudad de
Tokio, por Takamitsu Azuma. En apenas veinte metros cuadra-
dos, la construccin piensa y resuelve problemas arquitectnicos
y de convivencia familiar. Est estructurada a partir de una esca-
lera 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 posi-
cionando 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 habi-
tacin a otra. Leandro Listorti (Catlogo Bafici 14)
246 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 stair-
case 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

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.
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 ob-
jeto 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 tor-
menta. 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
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
ARQUITECTURA - KARL-HEINZ KLOPF
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.
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 ob-
ject. 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 re-
configure 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
247
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 restau-
rante 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
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 how do you deal with the pressure of being the best in the
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 es-
piritual 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
MAURICE DEKKERS
Periodista, director y empresario residente en msterdam. Despus de
graduarse de la Royal Academy of Arts, hizo la premiada serie Keurings-
dienstvan Waarde, que se convirti en uno de los programas ms popu-
lares de la televisin holandesa. Ants on a Shrimp es su primer largo-
metraje documental.
Amsterdam-based journalist, filmmaker, and entrepreneur. After graduat-
ing from the Royal Academy of Arts, he directed the awarded series Keur-
ingsdienstvan Waarde, which became one of the most popular shows
on Dutch TV. Ants on a Shrimp is his first feature-length documentary.
250 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In January 2015, the Noma, acknowledged as the best restau-
rant 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 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:
world? How do you get to always meet the challenge and ex-
pectations? You do it by spreading a Herzogian, larger than life
quest lead by an insane spiritual guide, across forests and dis-
tant 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
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

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.
Una flor, otra flor, un maestro, deca la cancin, y un poco as One flower, another flower, a master, said the song, and Campo
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, ins-
trumentos y texturas de todo tipo se suceden ante nuestros ojos
mientras los trabajadores del restaurante Mugaritz, de todo ran-
go 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
PEP GATELL
Naci en Espaa en 1958. Desde 1980, es uno de los directores arts-
ticos 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMER Y BEBER
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.
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 experi-
ence 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
Espaa - Spain, 2015 / 65 / DCP / Color / Espaol - Spanish
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
251
PREMIERE MUNDIAL / WORLD PREMIERE
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 pensamien-
to recuerda las ms extraas historias sobre la carne argenti-
na y la influencia que ejerce sobre nosotros.
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 escucha-
mos. 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
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 Mari-
ano Ferreyra? (2013).
252 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 coun-
ter. 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 employee-
run meatpacking, Bullseye draws a sharp and humorous map of
a true national passion. AM
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

Foto / Photo: Edward Gray
IN DEFENSE OF FOOD
En defensa de la comida
Basado en el bestseller homnimo del periodista Michael Po-
llan, 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.
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 conoci-
miento 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, evi-
ta 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMER Y BEBER
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.
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
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
253
PREMIERE LATINOAMERICANA / LATAM PREMIERE
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 ex-
plorar el misterioso mundo del vino de arroz japons y su historia.
Es complicada esa cuestin de encontrar algo que d sentido a
la propia vida, algo que no todos logran ni identificar. Qu tie-
nen 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 bebi-
da 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
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 publica-
ciones 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 some-
thing, 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 ex-
isting, of relating with others; its ritual, communion, work and
passion. And their lives revolve around it. CM
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

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.
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 ar-
tesanales, 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 pre-
paracin, 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 in-
vestigacin. Javier Porta Fouz
ORLANDO ARRIAGADA
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 found-
ed the production company Pimiento, and directed several films, includ-
ing Derrire le miracle (2011) and Miss Inc. (2013).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
COMER Y BEBER
This documentary goes through the northern shore of Peru,
Amazonia, and Lima, and explores the historical and sociopo-
litical aspects of ceviche, a dish from Peru that dates back to
pre-Columbian times.
A trademark dish for a country that managed to turn its gas-
tronomy 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 fisher-
men to Gastn Acurio, its most famous promoter, almost a politi-
cian 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 sunni-
est, tastiest meanings you can provide to the term research
documentary. JPF
Canad / Per - Canada / Peru, 2015 / 85
DCP / Color / Espaol - Spanish
D, M: Orlando Arriagada G: Louis-Franois Grenier F: Franois Lger-
Savard 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
255
PREMIERE AMERICANA / AMERICAN PREMIERE
EAT & DRINK
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!.
Hay pelculas que cumplen un rol especial dentro de un festi-
val de cine, y son particularmente tiles para aquellos que nos
internamos en sus salas durante das enteros. Breves y disten-
didas, 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 alimenta-
cin y pasar a relacionarse intrnsecamente con un pueblo y
moldear su mismsima identidad. Emiliano Andrs Cappiello
BEGO ZUBIA GALLASTEGI
Ha desarrollado gran parte de su carrera como periodista en prensa
escrita y televisin. Actualmente es directora del programa de divulga-
cin 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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!.
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 or-
der to offer a thorough journey through all of its processes, from
the classic to the modern. Far from limiting itself to merely ob-
serving and describing, the film embarks on a trip that explores
how gastronomy can transcend food and end up relating intrin-
sically to a town to the point of molding its own identity. EAC
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

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 nue-
vo lenguaje que ahora se habla en todos lados.
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 genia-
lidad 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 ex-
tendi 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 hicie-
ron temblar los conceptos de artesano y artista como pocas
veces haba sucedido, cuchillo y tenedor en mano. Sol Santoro
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
COMER Y BEBER
Big names of the Spanish food vanguard remember how they
were able to spread throughout the world their passion for re-
inventing cooking with absolute freedom and creating a new
language that is now spoken worldwide.
This is a documentary about the overwhelming power of pas-
sion. 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 unappreci-
ated 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 re-
vealing dishes that shook the concepts of craftsman and artist
as few times before, knife and fork in hand. SS
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
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 des-
cubrir, 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 pelcu-
las 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 es-
cndalos 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 des-
cubrir, probar y explorar los lmites de su sexualidad.
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 mo-
ment most teen sex dramas do, when adolescents come to see
the full power of their erotic imaginations before being able to
channel it. PM
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

Foto / Photo: Stefan Berg
BECOMING ZLATAN
Den unge Zlatan
Convirtindose en Zlatan
Los aos decisivos del futbolista sueco que juega como de-
lantero en el Paris Saint-Germain, desde su debut en el Malm
hasta sus conflictos con el Ajax y su paso por la 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 in-
audito, 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
LOS DIRECTORES / THE DIRECTORS
Fredrik Gertten naci en Suecia en 1956. Trabaj como periodista, publi-
c 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
HACERSE GRANDE
The decisive years of the Swedish soccer star who plays for-
ward for the Paris Saint-Germain, from his debut in Malm to
his conflicts in Ajax and his time in Juventus.
Zlatan Ibrahimovi surprise us once again, this time as the ob-
ject of a documentary with a precise narrative and goal: portray-
ing 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 fa-
mous 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 understate-
ment 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
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
261
 COMING OF AGE
DAS DE CLEO
Days of Cleo
Cleo vive con su perra Esperanza y habita un universo apti-
co cuya calma se ver progresivamente interrumpida por una
serie de encuentros familiares, amorosos, siempre inespera-
dos que irn desintegrando el limbo en el que se encuentra.
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 li-
beradoras, buscar restablecer el equilibrio perdido, aquel que
pueda devolverles el encanto a sus das. Magdalena Arau
MARA ELVIRA REYMOND
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 every-
thing 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
Chile, 2015 / 77 / DCP / Color / Espaol - Spanish
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

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 pe-
queos 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 infini-
tas. Un elogio a la infancia salvaje, filmada a un metro de altura.
Magdalena Arau
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
HACERSE GRANDE
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 roof-
climbing, 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
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
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.
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, abu-
rridas 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 conoci-
miento 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
ANITA ROCHA DA SILVEIRA
Se gradu en 2008 en la Universidad Pontfice Catlica de Ro de Janei-
ro. En los ltimos aos, ha trabajado como asistente de direccin, docen-
te 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 direc-
tor, 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A wave of murders invades Barra de Tijuca, west of Rio de Ja-
neiro. 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. A group of teenage girls with the typical insecuri-
ties 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 psychologi-
cal effects of these murders on them. VB
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

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 deci-
siones clave en su vida.
Debajo de su historia vaporosa de romance clandestino, Maturit
despliega una fbula de espritu adolescente: depurada en la for-
ma, 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 siem-
pre 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 irrepe-
tible, declara que ella y su pequeo mundo pueden tambin ser la
materia indeclinable del cine. David Obarrio
ROSENDO RUIZ
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 Competen-
cia 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 cara-
vana (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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
HACERSE GRANDE
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 down-
town, where she goes through experiences that will lead her
to make some key decisions.
Under its steamy, forbidden-love story, Maturit lays out a teen-
spirited 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
Argentina, 2016 / 75 / DCP / Color / Espaol - Spanish
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
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.
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 so-
ciales, 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
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).
266 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Fourteen year-old David is forced to become man of the house
while his grandfather lives his last days at the hospital.
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 cin-
ema 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 disap-
pointment. MP
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

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.
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 semiautobio-
grfica 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 sal-
vaje diario se nos abren con humor, honestidad y una inusual
combinacin de morbo y ternura. Mariano Kairuz
MARIELLE HELLER
Naci en California en 1979. Ha trabajado como actriz en cine y televi-
sin, 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
HACERSE GRANDE
San Francisco in the 1970s. In a post-hippie environment of
punk rock and cocaine, 15-year-old Minnie wants to be a com-
ic book artist and loses her virginity, but her first lover is none
other than her mothers boyfriend.
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-autobi-
ographical novel by Phoebe Gloeckner an artist influenced by
the lysergic works of Robert Crumb and his wife Aline Komin-
sky 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 Fran-
cisco 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
Estados Unidos - US, 2015 / 101 / DCP / Color / Ingls - English
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
267
 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, Entrecam-
pos. 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).

268 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

MSICA
MUSIC
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MUSIC
AMERICAN EPIC TRILOGY
Triloga de la pica americana
Este recorrido imperdible por la cultura popular norteameri-
cana se exhibe como una verdadera maratn en continuado
que constituye todo un acontecimiento para los aficionados
a la msica.
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 di-
versos, 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
This mandatory journey through American pop culture is
screened as a series, like a true marathon that constitutes a
special event for music fans.
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
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

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.
Como corolario festivo de la American Epic Trilogy, estas sesio-
nes 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, tam-
bin, 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 in-
tento lgubre de preservacin que una celebracin del presente
en clave de reconocimiento a sus predecesores. David Obarrio
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MSICA
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.
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 him-
self 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
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 Calama-
ro, Pappo, Pity lvarez y Charly Garca, entre otros) hablan de
su experiencia en un encuentro entre artistas y pblico.
Los festivales en Argentina resultaron determinantes para edu-
car 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 propo-
ne 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The film features interviews collected throughout 15 years
with Latin American musicians and rock stars (Andrs Cala-
maro, Pappo, Pity lvarez, and Charly Garca, among others)
who talk about their experiences in a meeting between artists
and audiences.
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
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

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.
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 vein-
te 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, in-
terpretaciones 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
MSICA
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 musi-
cians about their views on life and music in their country be-
fore and after the fall of the Berlin Wall.
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 move-
ment had disintegrated in irreconcilable differences, including
literal interpretations of Sid Vicious swastika. With devastating
insight, East Punk Memories contrasts the past and the pres-
ent of a generation of people who confirmed in the whirlpool
of History just how real was that whole no future thing. AM
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
273
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.
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. Limi-
tndose a organizar ese repertorio analgico sin agregar nada,
Blanco deja que, como aquellos shows que comenzaban ocul-
tos 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 Fes-
tival de Mar del Plata)
FERNANDO M. BLANCO
Naci en Buenos Aires en 1974, y estudi en ATC y en el CIEVYC. Reali-
zador, camargrafo, editor y msico, desde 1997 ha realizado numero-
sos videoclips para bandas como Menos Que Cero, rbol, El Siempreter-
no 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 cas-
sette 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 free-
dom 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 any-
thing 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 (30 th Festival de Mar del Plata Catalogue)
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

HERMOSOS PERDEDORES POP
Beautiful Pop Losers
En 1993 cuatro jvenes de Adrogu y Temperley forman la
banda Perdedores Pop. Entre rockeros y periodistas, dos her-
manos lderes tejen una historia incendiaria asumiendo la de-
rrota desde el inicio. Atraviesan distintas pocas y su msica
permanece autntica y oculta a la vez.
En los aos noventa todo pareca nuevo. Quizs el efecto re-
volucionario 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 re-
torcida lectura de la cultura del fanzine eran un lujo conceptual
y para pocos. Con un slido registro en VHS y un original des-
pliegue esttico, este documental recorre los primeros pero no
ltimos aos del grupo de Adrogu, exponiendo reveladores
registros sobre tcnicas como el cassetismo y el collage-
collage, o los principios filosficos del cualquierismo, hasta
el regreso de la banda en 2012. Javier Sisti Ripoll
AGUSTN ARVALO
Naci en 1982 en Mar del Plata, Argentina, y egres de la Escuela Profe-
sional 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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
MSICA
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 beg-
gining. They go through different times, and their music re-
mains both authentic and hidden.
Back in the 90s, everything seemed new. Maybe it was the revo-
lutionary 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 whatev-
erism, until the bands return in 2012. JSR
Argentina, 2016 / 60 / DM / Color & B&N / Espaol - Spanish
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
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 cancio-
nes ms perdurables del gnero antes de su prematura muer-
te a los 29 aos. El film abarca desde sus orgenes humildes
hasta su ascenso al estrellato.
Bob Dylan: Esas viejas canciones son mi diccionario y mi bi-
blia. Todas mis creencias vienen, literalmente, de esas can-
ciones; 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
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 journal-
ist 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
Those old songs are my lexicon and prayer book. All my be-
liefs 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 be-
lieve 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
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

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 anrqui-
co 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, inocente-
mente, nos permite inventarla de nuevo.
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
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 stud-
ied filmmaking at the California Art Institute and the DFFB in Berlin. He
founded the production company Neapel Film and directed several docu-
mentaries, including Accordion Tribe (2004), Heimatklnge (2007) and
Balkan Melodie (2012).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MSICA
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.
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 re-
corded 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
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
277
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MUSIC
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 au-
dio del fotgrafo W. Eugene Smith, que documentan las sesio-
nes de improvisacin de Thelonious Monk, Zoot Sims y otros
grandes del jazz, mientras ensayaban en un loft a fines de los
cincuenta y sesenta.
A finales de los aos cincuenta, algo sucede en la vida del
fotoperiodista Eugene Smith. De su posicin como firma c-
lebre 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
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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
This is the first film that used photographer W. Eugene
Smiths archives of photos and audiotapes, which docu-
ment jam sessions by Thelonious Monk, Zoot Sims and
other great jazz musicians, as they rehearsed in a loft in
the late 50s and 60s.
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 pe-
riod that leads him to surround himself with his camera col-
lection, 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 lo-
cal 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
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
Foto / Photo: Shin Katan
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.
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 msi-
cos en el suelo de una habitacin gigante en la que graban sus
canciones, algunas de ellas alegres y otras tristes. Sin proveer-
nos 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
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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
MSICA
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.
Making a solid first foray into nonfiction terrain, Paul Thomas
Anderson tags along with his frequent soundtrack collabora-
tor and Radiohead guitarist Jonny Greenwood to Rajasthan in
northwest India, where the British rocker aims to make an al-
bum with a host of international artists. Junun sets its stage
with a single title card explaining Greenwoods trip to the Meh-
rangarh 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 pro-
vided, 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
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
279
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MUSIC
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 ra-
monera 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 co-
media 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 ne-
cesita 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 pel-
culas 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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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 fa-
mous 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

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.
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
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), 25 th 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).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MSICA
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.
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 danc-
ing. Those years, those complications and triumphs are not for
this piece. It just wants to rock with you. RL
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
281
PREMIERE MUNDIAL / WORLD PREMIERE
MUSIC
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 can-
ciones con el msico durante esta horse movie.
Hay tantos motivos diferentes para hacer un viaje como via-
jes 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 bue-
na parte del encanto de este documental placentero y libertario,
que prefiere ir al trote antes que al galope, para dejarnos cono-
cer en detalle una tierra donde las canciones, la camaradera y
no pocos disparates brotan sin el menor esfuerzo, y donde has-
ta los caballos pueden volverse de pronto multiinstrumentistas
consumados. Agustn Masaedo
LOS DIRECTORES / THE DIRECTORS
Segundo Bercetche: Dirigi los documentales BA RAP (Bafici 14) y
Jungle Boyz (Bafici 15). Cristian Costantini: Realiz los documenta-
les Oro nestas piedras y El jardn secreto (Bafici 10). Tomi Lebrero:
Bandoneonista y cantautor. Hizo la msica de UPA! Una pelcula argen-
tina (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 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
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.
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 be-
cause 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
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

NUEVO ROCK: ADICTA, EL DOCUMENTAL
New Rock: Adicta, the Documentary
Dos das antes de que Adicta anunciara su separacin, el rea-
lizador concret, sin saberlo, la que sera la ltima entrevista
de la banda.
Este documental dirigido por Fernando Barrios recorre la inten-
sa 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
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.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
MSICA
Two days before Adicta announced its disbanding, the film-
maker crystalized, without knowing it, what would be the
bands last interview.
This documentary directed by Fernando Barrios covers the in-
tense life of Adicta, one of the most unique bands in the Argen-
tine scene. The testimonies of its members, especially the origi-
nal 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 monop-
oly 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
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
283
PREMIERE LATINOAMERICANA / LATAM PREMIERE
MUSIC
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 des-
pus de la gira.
Recuerdan cuando Madonna sola ser juguetona y feroz, y
sus acrobacias iconoclastas tenan el fin de ser provocacio-
nes pop? La apoteosis de esos aos dorados fue la Blond
Ambition Tour de 1990, que escandaliz al mundo conser-
vador 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 ha-
rn de siete bailarines hermosos de diferentes tonalidades.
En la eventual reunin de los seis pavos reales vogueado-
res 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
ESTER GOULD
Naci en Peterculter, Escocia, en 1975, pero vive y trabaja en mster-
dam. 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.
REIJER ZWAAN
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.
284 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In 1990, seven dancers joined Madonna in her highly contro-
versial Blond Ambition World Tour. Now, 25 years later, they
reveal the truth about life during and after that tour.
Remember when Madonna used to be playful and fierce, and
her iconoclastic performance stunts were about pop provo-
cation? 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 even-
tual 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 win-
dow 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
Holanda / Blgica - Netherlands / Belgium, 2016
83 / DCP / Color & B&N / Ingls - English
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
Contacto / Contact
CTM Docs . Rosan Boersma
T +31 634 139 289
W strikaposefilm.com ~ strikeaposedocu
Foto / Photo: Ian Dickson
THE DAMNED: DONT YOU WISH
THAT WE WERE DEAD
The Damned: No desearas que estuviramos muertos?
Despus de haber pasado por muchos cambios, disoluciones
y luchas internas, la banda pionera del punk The Damned se
ha convertido en uno de los grupos de ms trayectoria en su
gnero, y una influencia ineludible para los que la sucedieron.
Tomando a cualquiera de los cuatro miembros de la formacin
original de The Damned por separado, se puede armar un rbol
genealgico de estilos musicales (y estilismos visuales) a partir
de ellos. Dave Vanian fue casi el primer dark; Captain Sensible
es un puntal del pop extravagante; Rat Scabies es el hooligan
punk que no sabe ser otra cosa en la vida que un gamberro; y
el efmero Brian James lleva tatuado en la frente hago rock
de clase obrera. Todo esto tena lugar en 1976, cuando The
Damned fue la avanzada del punk britnico. Lo increble es
que sigue sucediendo ahora. Este film de Wes Orshoski (quien
ya inmortaliz a Lemmy en otro rockumentary) expone todo el
anecdotario de locuras e hitos musicales (Chrissie Hynde, Ian
MacKaye, Mick Jones y Jello Biafra se hincan ante su nombre)
que cabe en estos cuarenta aos. Joan Pons
WES ORSHOSKI
Debut como director con el largo documental Lemmy (2010; Bafici 11).
Actualmente vive en Nueva York, donde expone sus trabajos como fotgrafo.
He made his directorial debut with the documentary feature Lemmy
(2010; Bafici 11). He currently lives in New York, where he exhibits his
work as a photographer.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
MSICA
After having gone through lots of changes, breakups and
fights, pioneering punk rock band The Damned has become
one of the longest-running groups in their genre, and an un-
avoidable influence to those who came after them.
If you take any of the four members of the Damneds original
lineup, you can build a family tree of musical styles (and vi-
sual styling) from them. Dave Vanian was almost the first goth;
Captain Sensible is a pillar of extravagant pop; Rat Scabies is
the punk hooligan than can be nothing but a troublemaker;
and the ephemeral Brian James has I make working-class
rock tattooed on his forehead. All of this was taking place in
1976, when the Damned was the outpost of British punk. The
amazing thing is that its still happening now. This film by Wes
Orchoski (who had already immortalized Lemmy in another roc-
kumentary) exposes all the anecdotes of madness and musical
milestones (Chrissie Hynde, Ian MacKaye, Mick Jones and Jello
Biafra bow down before them) that fit in in these forty years. JP
Estados Unidos - US, 2015 / 110 / DCP / Color
Ingls - English
D, G, F, E, DA, S, P: Wes Orshoski PE: Wes Orshoski, Jeanine Triolo
CP: Three Count Films I: Dave Gahan, Chrissie Hynde, Mick Jones,
Lemmy
Contacto / Contact
Three Count Films. Wes Orshoski
T +1 917 450 2148
E wesorshoski@gmail.com
W threecountfilms.com ~ damneddoc.com
285
PASIONES
PASSIONS
PREMIERE MUNDIAL / WORLD PREMIERE
PASSIONS
1986. LA HISTORIA DETRS DE LA COPA
1986
FUNCIONES GRATUITAS / FREE SCREENINGS
La historia nunca antes contada de la seleccin argentina que
se coron campeona en Mxico 86, en una serie documental
que presentamos en dos jugosos bloques, y gratis!
En 1986 se produjo el hecho ms impactante de la historia
del ftbol argentino. En medio de un pas esperanzado por el
regreso de la democracia, la seleccin obtena por segunda vez
la Copa del Mundo. Ese ttulo empez a edificarse cuatro aos
antes y, como muchas historias contemporneas argentinas,
estuvo colmado de esfuerzo, genialidades, traiciones, logros
colectivos y los momentos ms picos de la historia del deporte
nacional. Basada en la aparicin de un video indito que cuenta
desde la intimidad el paso del seleccionado por la concentra-
cin del Club Amrica de Mxico, la serie documental 1986. La
historia detrs de la Copa desanda como nunca antes el ciclo
que tuvo el doble comando de Carlos Bilardo y Diego Maradona,
en su hora ms controvertida y gloriosa.
CHRISTIAN RMOLI
Naci en Junn, Buenos Aires, en 1973. Estudi en la Universidad de
Buenos Aires y en DeporTea. Entre 2008 y 2016, dirigi y produjo para
Koala Contenidos ms de 40 documentales, entre los que se destacan
Mundial 78. Verdad o mentira, y las series La Argentina olmpica y El
ftbol es historia.
He was born in Junn, Buenos Aires, in 1973. He studied at the University
of Buenos Aires and DeporTea. Between 2008 and 2016, he directed
and produced over 40 documentaries for Koala Contenidos, including
Mundial 78. Verdad o mentira, and the series La Argentina olmpica and
El ftbol es historia.
288 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The untold story of the Argentinian soccer team that won the
World Cup in Mexico 86, in a documentary series featured
here in two juicy and free! programs.
The most shocking event in Argentine soccer history took place
in 1986. In the middle of a country with high hopes after the
return of democracy, the national team won its second world
championship. That title had started to become real four years
before, and, like so many other contemporary Argentine sto-
ries, the road was filled with effort, genius, treasons, collective
achievements, and some of the most epic moments in the his-
tory of national sports. Based on a new, unreleased video that
shows the intimacy of the national teams camp at the America
team home in Mexico, the documentary series 1986 goes back
through that double leadership period with Carlos Bilardo and
Diego Maradona, in his most controversial and glorious hour.
Argentina, 2016 / 208 / DM / Color / Espaol - Spanish
D, P, PE: Christian Rmoli G: Gustavo Dejtiar, Ariel Scher
F: Martn Pimentel E: Julen Gimnez, Luciano Orlievsky
DA: Leandro Balaguer S: Pablo Nomdedeu M: Pablo Nomdedeu
CP: Koala Contenidos I: Carlos Bilardo, Jorge Valdano,
Daniel Passarella, Julio Olarticoechea, Jorge Burruchaga
Contacto / Contact
Koala Contenidos. Christian Rmoli
T +54 9 11 5511 1453
E chremoli@koalacontenidos.com.ar ~ chremoli@hotmail.com
W koalacontenidos.com.ar

DNDE ESTS, NEGRO?
Where Are You, Buddy?
Alejandro Maly ahonda en la vida del ventrlocuo argentino
Chasman y su clebre lter ego Chirolita. A partir del recor-
dado do, este documental explora la relacin que tienen los
ventrlocuos con sus muecos.
Para aquellos que desconocen a Chasman y Chirolita, e incluso
para los que creen que los recuerdan, este documental, que
cuenta con un material de archivo inmediatamente atractivo,
ser una sorpresa. El humor de Ch & Ch demuestra un timing
inalterable. Las entrevistas que guan la exploracin trabajan
sobre la personalidad de Chasman, el xito del do y el humor
en general, con esa inevitable cercana con zonas oscuras e
insondables a las que habitualmente se llega cuando se habla
de comicidad y se la observa con detenimiento. Pero este es un
documental doble, porque de Ch & Ch se pasa a su legado, a los
distintos ventrlocuos y a sus derroteros asombrosos. Y hasta
triple: la exploracin va hacia el pasado, a la historia y leyenda,
y misterio de lo que hubo antes de Ch & Ch, otros cuentos de
muecos extraordinarios. Javier Porta Fouz
ALEJANDRO MALY
Naci en Buenos Aires en 1979. Estudi cine en la UBA y despus
de graduarse comenz a trabajar en varias producciones de televi-
sin como camargrafo y editor. Tambin estudi fotografa y montaje
cinematogrfico.
He was born in Buenos Aires in 1979. He studied film at the UBA and
after graduating started to work in various television productions as
camera operator and editor. He also studied photography and film editing.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
PASIONES
Alejandro Maly delves into the life of Argentine ventriloquist
Chasman and his famous alter ego Chirolita. Though the be-
loved duo, this documentary explores the relationship between
ventriloquists and their dummies.
For those of you who dont know who Chasman and Chirolita
were, or even for those who think they remember them, this
documentary featuring immediately attractive archive footage
will be a surprise. The humor of Ch & Ch shows an unchang-
ing timing. The interviews that guide this exploration work on
Chasmans personality, the success of the duet, and comedy in
general, with that inevitable closeness to darker and unfathom-
able areas you usually reach when addressing and thoroughly
observing comic nature. But this is a double documentary, be-
cause we jump go from Ch and Ch to their legacy, with different
ventriloquists and their astonishing careers. And its even triple:
the exploration goes back into the past, to the history the leg-
end, the mystery of what there was before Ch and Ch: other
stories of extraordinary dolls. JPF
Argentina, 2016 / 82 / DCP / Color / Espaol - Spanish
D, G, E, P, PE: Alejandro Maly F: Gabriel Villazn DA: Marcela Tazzioli
S: Matas Hidalgo M: Alberto Castillo, Dante Amicarelli, Francisco
Marafioti, Miguel Lembo CP: Lyma Film I: Silvio Soldn, Santiago Bal,
Natn Solans, Marcelo Bonetti, Miguel ngel Lembo
Contacto / Contact
Lyma Film. Alejandro Maly
T +54 11 4194 7595
E alemaly@gmail.com
W facebook.com/dondeestasnegrodocumental
289
PREMIERE MUNDIAL / WORLD PREMIERE
PASSIONS
EL SENTIDO DERBY
The Derby Direction
Este documental recorre la historia de distintas mujeres que
se cruzan en un curioso punto de encuentro: la pista de roller
derby, un deporte que las apasiona y las invita a poner en jue-
go toda su fuerza sobre los patines.
Qu tienen en comn una emergenciloga, una abogada y
un ama de casa? Sus cotidianidades son muy distintas, pero
hay algo que las une: el roller derby. Todos los que hayan
visto Whip It (Drew Barrymore) saben de qu se trata: es un
deporte de contacto, pero en patines de cuatro ruedas. Para
jugar, las chicas se maquillan, se visten y eligen un derby
name, que puede ir desde Concha Violenta hasta Animal,
pasando por otros ms moderados, como Diamantina o
Miss Marple. Pero saben que lo importante es el juego.
Y es que con el roller derby pueden sentirse libres, sin ms
obligacin que la de ganar. El sentido derby nos permite aso-
marnos al mundo privado de cada una de ellas y tambin al
de cada equipo: de la potente combinacin entre ambos se
nutre el documental, y tambin la vida de las chicas que,
con garra y mucha onda, salen a la pista. Luciana Calcagno
MARTN BLOUSSON
Naci en Buenos Aires en 1977, y se inici en lo audiovisual como editor
y guionista. Trabaj en el montaje de Parapolicial negro, La memoria del
muerto (Bafici 12) y Diablo, entre otras.
He was born in Buenos Aires in 1977, and started out as an editor and
scriptwriter. He worked in the editing of Parapolicial negro, La memoria
del muerto (Bafici 12) and Diablo, among others.
290 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
This documentary goes through the story of several women
who come across each other in a funny meeting point: the
roller derby track, a sport theyre passionate about and invites
them to put all their strength on the skates.
What do an emergency room doctor, a lawyer, and a home-
maker have in common? Their everyday lives are very different,
but theres something that connects them: roller derby. Every-
one who has seen Drew Barrymores Whip It has an idea of
what that is: a contact sport, but on four-wheel skates. When
they are playing, the girls wear make up, dress up, and pick a
derby name, which can range from Violent Pussy to Animal,
including some moderated ones like Diamantina or Miss
Marple. But they also know that the game is the most impor-
tant thing of all. Because roller derby makes them fell free, with
no other obligation but winning. The Derby Direction allows us
to peek into the private world of each one of them, and also
their teams: the powerful combination of the two nurtures this
documentary, and also the lives of these women who step out to
the track with guts and swag. LC
Argentina, 2016 / 73 / DM / Color
Espaol - Spanish
D, G, P: Martn Blousson F: Mariano Surez E: Valentn Javier Diment,
Guillermo Gatti, Martn Blousson S: Sebastin Gonzlez
M: Natalia lvarez PE: Nicols Galvagno CP: Pelculas V
I: Thelma Gerez, Agustina Mollo, Sabrina Rodera Zorita,
Mara Marta Berdias, Priscila Alba Mieres
Contacto / Contact
Pelculas V. Martn Blousson
T +54 11 5746 8859
E martinblousson@gmail.com

FREE TO RUN
Libre para correr
Hasta hace 50 aos, el running era un deporte exclusivamente
masculino y reservado solamente para unos pocos eventos.
El documental de Morath se propone trazar la aventura pica
de este fenmeno convertido en pasin universal a lo largo
de la historia.
Al comienzo de la pelcula, un personaje sale a un balcn que
nos permite ver el Central Park en Nueva York, un espacio
sagrado para corredores. l dice que antes corra por ah, en
una hora se cruzaba con cinco o seis corredores y a todos los
conoca, porque eran pocos. Free to Run es la historia de los
pioneros y del crecimiento del running: organizadores revolu-
cionarios, corredores que marcaron una poca, mujeres que
rompieron las barreras del prejuicio; temas que podran ser tres
documentales separados y a los que habra que sumar muchos
ms. Pero Free to Run hace un enorme esfuerzo para resumir
todo esto, y los resultados son brillantes. Para quien ama correr,
una docena de escenas provocan emocin al borde de las l-
grimas. Lejos de cerrar el tema, la pelcula parece abrirlo, como
esa salida al balcn al comienzo del relato. Santiago Garca
PIERRE MORATH
Historiador, periodista, ex atleta y documentalista nacido en 1970. En
2007 fund su propia productora. Sus documentales fueron exhibidos y
premiados en varios festivales internacionales.
Hes a historian, journalist, former journalist and documentary filmmaker
born in 1970. In 2007, he founded his own production company. His
documentaries have been screened and awarded in several international
festivals.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PASIONES
Up until 50 years ago, running was a sport only permitted to
men and restricted to a few events. Moraths documentary
aims to trace throughout history the epic adventure of this
phenomenon that has turned into a universal passion.
At the beginning of the film, a character goes out to a balcony
that allows us to see New Yorks Central Park, a sacred place
for runners. He says he used to run there, that over the course
of an hour he would run into five or six runners and know every
one of them, because they were few. Free to Run is the story
of the rise of running and its pioneers: revolutionary organiz-
ers, runners that marked a milestone, women that broke the
barriers of prejudice subjects that could make up for three
separate documentaries and to which we would have to add
many more. But Free to Run makes a great effort to summarize
all of this, and the results are brilliant. For those who love to
run, a dozen scenes could drive them to tears. Far from closing
the subject, the film seems to open it, like that balcony at the
opening scene. SG
Suiza / Francia / Blgica - Switzerland / France / Belgium, 2016
99 / DCP / Color / Francs / Ingls - French / English
D, G: Pierre Morath F, E: Thomas Queille S: Nicolas Samarine
M: Kevin Queille, Polar P: Fabrice Estve PE: Jean-Marc Frhle,
Fabrice Estve, Marie Besson CP: Point Prod, Yuzu Productions,
Eklektik Productions I: Kathrine Switzer, Noel Tamini, Fred Lebow,
Steve Prefontaine, Franck Shorter
Contacto / Contact
jour2fte. Samuel Blanc
T +33 140 229 215
E sales@jour2fete.com W jour2fete.com
291
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PASSIONS
FUNNY BUNNY
Conejito divertido
Dos jvenes compiten por el corazn de Ginger, una activista
solitaria y emocionalmente frgil que se gana la vida defen-
diendo los derechos de los animales. Un tringulo cuasi amo-
roso en el que los personajes tratan desesperadamente de
conectarse unos con otros.
Sensible y sofisticada, Alison Bagnall no se priva de situaciones
ligeramente grotescas en las que la hostilidad del mundo se
combate con un tono de incertidumbre amable que recuerda a
los hermanos Grimm o al primer David Gordon Green. La belleza
de los planos que registran las caminatas de los dos protagonis-
tas tiene su correlato en la tristeza subterrnea de esas vidas a
merced de la incomprensin general. La pelcula crea para ellos
la posibilidad de la amistad como un refugio y una fatalidad,
mediante la cual los seres desastrados viven como son, con
sus taras y su inadaptacin a cuestas. Pocas veces el trmino
indie implic semejante grado de libertad y de compromiso con
sus criaturas: para Bagnall la comedia triste es un artculo de fe
y un pasaporte capaz de conducirnos con un estremecimiento al
encuentro inesperado con nuestros semejantes. David Obarrio
ALISON BAGNALL
Se gradu en la Universidad de Yale, y luego estudi direccin de cine en
el American Film Institute. Debut en la industria cinematogrfica como
coguionista de Bufalo 66 (1998). Dirigi los largometrajes Piggie (2003)
y The Dish and the Spoon (2011).
She graduated from the University of Yale and later studied filmmak-
ing at the American Film Institute. She debuted in the film industry as
a co-writer in Bufalo 66 (1998). She directed the feature-length films
Piggie (2003) and The Dish and the Spoon (2011).
292 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Two young men compete for the love of Ginger, a lonely and
emotionally fragile activist who earns a living advocating for
animal rights. A quasi-love triangle in which the characters
desperately try to connect with each other.
Sensitive and sophisticated, Alison Bagnall doesnt avoid some-
what grotesque situations in which the hostility of the world is
fought through a tone of friendly uncertainty that recalls the
brothers Grimm or David Gordon Greens first films. The beauty
of the shots that capture the two main characters walks has
its correlation in the sadness beneath those lives at the mercy
of the general lack of understanding. The film creates for them
the possibility of friendship as refuge and fatality, through which
the scruffy beings live as they are, with their own faults and
their inability to adapt. Few times has the term indie meant this
amount of freedom and commitment to its creatures to Ba-
gnall, sad comedy is an article of faith as well as a passport
capable of driving us to unexpectedly meet people like us. DO
Estados Unidos - US, 2015 / 86 / DCP / Color
Ingls - English
D, G: Alison Bagnall F: Ashley Connor E: Kentucker Audley,
Caleb Johnson, David Barker DA: Penka Slavova S: Albert Birney
M: Melanie Hsu P: Ted Speaker, Laura Heberton, Tara Culp,
Vinay Singh PE: Mark Shlomchik CP: Magic Owl, Hot Metal Films
I: Kentucker Audley, Olly Alexander, Joslyn Jensen, Josephine Decker,
Anna Margaret Hollyman
Contacto / Contact
Hot Metal Films. Laura Heberton
T +1 917 628 9476 E lheberton@gmail.com W hotmetalfilms.com

HIJOS NUESTROS
Easy Ball
Hugo, que alguna vez fue futbolista profesional, hoy sobrevive
como taxista. Los aos y los kilos se le vinieron encima, pero su
vida cambia de rumbo cuando conoce a Silvia y a su hijo Julin.
Despus de tanto tiempo, esta parece ser su oportunidad.
Entretenimiento, fanatismo vacuo, vehculo del desaforo nacio-
nal: eso creen muchos que es el ftbol, ninguneando su poten-
cial como metfora de todas las virtudes y vicios argentinos.
Hugo es un tpico taxista porteo, o no tan tpico, ya que habla
poco. Buenos Aires lo tiene alienado y son pocas las cosas que
lo desviven. Una, claro, es el ftbol, y, ms particularmente, San
Lorenzo de Almagro. Es su religin, su credo y su motivo de
vida. Lo hermoso del personaje es que esa procesin va por
dentro; es un caldero futbolero que desea teir a todo lo que lo
rodea de esa pasin azul y roja. Para Hugo, el ftbol abarca toda
esperanza de ascenso social, de amor, de construccin de una
familia. Y, en ese punto, Hijos nuestros capta ese anhelo inge-
nuo y tierno de que todo sufrimiento se solucione en un quiebre
de la cintura, en una red que se infla. Guido Segal (Catlogo
30 Festival de Mar del Plata)
JUAN FERNNDEZ GEBAUER / NICOLS SUREZ
Egresados de la ENERC, trabajaron en diversos cortos exhibidos en festi-
vales nacionales e internacionales.
Graduates from ENERC, they worked in many shorts shown at local and
international festivals.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PASIONES
Hugo, once a professional soccer player, now survives as a cab
driver. He is now older and has a few extra pounds, but his life
changes course when he meets Silvia and her son Julin. After
so long, this could be his chance of making it.
Entertainment, empty fanaticism, or a vehicle for national chaos:
that is how many people perceive soccer, ignoring its power as
a metaphor for every Argentine virtue and vice. Hugo is a typical
Buenos Aires cab driver, or maybe not so typical since he doesnt
say much. Buenos Aires has alienated him and there are very
few things he truly enjoys. One of them is, of course, soccer; par-
ticularly, the San Lorenzo de Almagro team, which is his religion,
his creed, and his reason to live. The beautiful thing about this
character is that hes someone whose emotions run deep inside,
a soccer basin who wants to paint everything around him in the
red and blue colors of his passion. For Hugo, soccer expresses
his aspirations of social rise, love, and building a family. And its
in that point where Easy Ball captures that naive and tender wish
for every suffering to be solved by a fancy dribble and a goal. GS
(30 th Festival de Mar del Plata Catalogue)
Argentina, 2015 / 86 / DCP / Color / Espaol - Spanish
D: Juan Fernndez Gebauer, Nicols Surez G: Nicols Surez
F: Pablo Parra E: Alejandro Carrillo Penovi DA: Ignacio Luppi
S: Gaspar Scheuer M: Fernando Martino, Matas Schiselman,
Emiliano Benjamn P: Georgina Baisch, Juan Fernndez Gebauer,
Nicols Surez PE: Georgina Baisch CP: Murillo Cine, Vaskim Cine
I: Carlos Portaluppi, Ana Katz, Valentn Greco, Daniel Hendler
Contacto / Contact
Murillo Cine. Georgina Baisch
T +54 9 11 3385 7199
E georgina.baisch@gmail.com
293
PASSIONS
LOS PIBES
The Football Boys
Los cazadores de talentos del Club Atltico Boca Juniors re-
corren los ms recnditos clubes y canchas con el objetivo de
descubrir a los futuros cracks del ftbol argentino. El film mira
de cerca el trabajo de evaluar a ms de cuarenta mil chicos,
con el afn de encontrar a los ms destacados.
Cada ao, unos cuarenta mil chicos se prueban para ingresar
a las inferiores de Boca: los elegidos, en el mejor de los casos,
sern unos treinta. Aplicar ese primer filtro requiere de ojos ca-
paces de ver mucho ms que la habilidad futbolstica; hay que
abrirse paso a travs de una maraa de sueos y nervios, de
presiones familiares e intereses econmicos. Captadores es
el esotrico ttulo que reciben aquellos que deciden quin sirve
para jugar en Boca y quin no; un grupo de diez que Cols
persigue de cerca a travs de canchas, oficinas, viajes y con-
versaciones. El mtodo wisemaniano que se aplica es el mismo
de Parador Retiro, aunque esta vez se buscan otros resultados:
la revelacin de una tica de trabajo, la celebracin de lo poco
que queda de noble y de puro en el juego del ftbol. Agustn
Masaedo (Catlogo 30 Festival de Mar del Plata)
JORGE LEANDRO COLS
Nacido en Viedma, provincia de Ro Negro, en 1976, estudi diseo de
imagen y sonido en la UBA. Realiz los largometrajes Parador Retiro
(2008) y Gricel (2012) y la serie Ms que amor es un sufrir (2012).
Born in Viedma, province of Ro Negro, in 1976, he studied image and
sound design at the UBA. He made the features Retiro Shelter (2008) and
Gricel (2012), as well as the series Ms que amor es un sufrir (2012).
294 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The talent scouts of the Club Atltico Boca Juniors go to the
most remote clubs and fields with the goal of discovering the
future crack players of Argentine Soccer. The film takes a close
look at the work of evaluating more than 40,000 boys, looking
to find the most talented.
Every year, around forty thousand kids try out for the Boca
teams minor leagues: the chosen ones, at most, amount to thir-
ty. Applying that first and drastic filter requires a pair of eyes that
are capable of seeing a lot more than just soccer-playing skills
within a tangled mess of dreams, nerves, family pressures, and
financial interests. Sensors is the esoteric term to describe
the people who decide who is good enough to play in Boca and
who isnt. They are a group of ten people as picturesque as tire-
less, and Colas chases them closely through fields, offices, trips,
and conversations. He applies the same Wisemanian method
from Retiro Shelter, only aiming for a different result: to reveal
a unique work ethics, and the celebration of the little traces of
nobility and purity that still exist in the game of soccer. AM (30 th
Festival de Mar del Plata Catalogue)
Argentina, 2015 / 82 / DCP / Color / Espaol - Spanish
D, G: Jorge Leandro Cols F: Martn Larrea E: Karina Expsito
S: Carlos Olmedo, Pablo Demarco, Mara Noel Romero
P, PE: Carolina M. Fernndez CP: Salamanca Cine I: Horacio Garca,
Norberto Madurga, Hugo Perotti, Ramn Maddoni, Diego Mazzilli
Contacto / Contact
Salamanca Cine. Carolina M. Fernndez
T +54 11 2067 7542
E produccion@salamancacine.com.ar
W salamancacine.com.ar

MISS
Robert tiene ms de 30 aos y vive obsesionado con la idea
de batir algn rcord mundial, el que sea. Entonces conoce a
Laura; la sigue, la busca y entablan una extraa amistad, por lo
que decide que quiere batir ese rcord con ella.
Cuando uno elige un camino, est dejando pasar otros. Por
caso, el camino de Roberto no es tan interesante: cuida casas y
lee El libro Guinness de los rcords, su publicacin de cabecera.
De pronto se cruza con Laura, una joven modelo publicitaria, y
la vida se le impregna de color. Roberto es mitad japons, mitad
chino, un poco tmido, otro poco sentimental y muy, pero muy
sencillo. Y tiene, entre sus ausencias, una materia pendiente: el
amor. Ay, el amor! Sbitamente, la obsesin inunda a Rober-
to. Ser este el camino correcto? Miss recoge el guante del
hombre comn en situacin extraordinaria y toma volumen
como una comedia romntica amable sin pretensiones, burlas
ni golpes bajos. Pequeo relato sobre dos opuestos que, por
alguna solucin del destino, se atraen. Hernn Panessi
ROBERT BONOMO
Naci en Buenos Aires en 1969, y estudi comunicacin social y publi-
cidad en la UBA. Dirigi videoclips de Illya Kuryaki & The Valderramas y
de Juana Molina, entre otros, y trabaj como asistente de direccin en
Rapado, de Martn Rejtman.
He was born in Buenos Aires in 1969, and studied social communication
and advertisement at the UBA. He directed music videos by Illya Kuryaki
& The Valderramas and Juana Molina, among others, and was assistant
director in Martn Rejtmans Rapado.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PASIONES
Robert is more than 30 and lives obsessed with the idea of
breaking a world record, any world record. Then he meets
Laura; he follows her, looks for her and starts a strange friend-
ship. He wants to break that record with her.
When you choose one path, youre discarding the others. For
example, Robertos path isnt that interesting: he babysits hous-
es, and reads The Guinness Book of Records, his bedside book.
Suddenly, he meets Laura, a young advertising model, and his
life becomes impregnated with color. Roberto is half Japanese,
half Chinese, a little shy, a little sentimental, and very, very plain.
One of his shortcomings is love. Oh, love! Suddenly, Roberto is
filled with an obsession. Is this the right way to go? Miss picks
up the glove of the ordinary man in an extraordinary situation
and grows as a kind and unpretentious romantic comedy with
no low blows or mockery. A small story about two opposites that,
for some twist of fate, attract each other. HP
Argentina, 2016 / 70 / DCP / Color / Espaol - Spanish
D: Robert Bonomo G: Robert Bonomo, Juan Villegas
F: Nicols Trovato E: Eliane Katz DA: Fernanda Chali
M: Lucas Mart P: Paula Zyngierman, Juan Villegas
PE: Paula Zyngierman CP: Tresmilmundos Cine,
MaravillaCine I: Malena Villa, Robert Bonomo
Contacto / Contact
Tresmilmundos Cine. Juan Villegas
T +54 11 5476 6916
E juanmanville@gmail.com
W facebook.com/pages/Tresmilmundos-Cine ~ robertbonomo.com.ar
295
PREMIERE AMERICANA / AMERICAN PREMIERE
PASSIONS
MY SCIENTOLOGY MOVIE
Mi pelcula de cientologa
Louis Theroux documenta su investigacin sobre lo que pasa
detrs de escena de la iglesia de la cientologa.
De qu se trata ese enigma de la cientologa, esa alquimia
secreta capaz de convocar a un puado de poderosos con
fuerte ascendencia y mltiples canales para su difusin? Louis
Theroux tal vez no termine de dilucidar una respuesta conclu-
yente, pero se las arregla para trazar un esbozo cuya elegancia
detectivesca constituye, quizs, el gesto ms distinguido de
esta pelcula modesta e inesperadamente simptica. Theroux,
un experimentado hombre de la televisin, no solo entrevista a
personas relacionadas con la cientologa, sino que inicia ade-
ms una bsqueda de actores con el fin de que interpreten
a sus personajes ms encumbrados. Esto da como resultado
una serie de escenas tan graciosas como reveladoras. La pe-
lcula intenta desmontar el andamiaje retrico con componen-
tes esencialmente litrgicos sobre el cual parece afianzarse la
creencia de marras. David Obarrio
JOHN DOWER
Dirigi numerosos telefilms, entre los que se destacan Britneys Redneck
Ruts (2005) y When Boris Met Dave (2009).
He directed several TV movies, including Britneys Redneck Ruts (2005)
and When Boris Met Dave (2009).
296 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Louis Theroux documents his research on what happens be-
hind the scenes at the Scientology church.
What is this enigma of Scientology, that secret alchemy that
draws a handful of powerful people with multiple channels to
promote it? Louis Theroux may not be able to find a conclu-
sive answer, but he manages to deliver a sketch for it with a
detective-like elegance that constitutes, perhaps, the most dis-
tinguished gesture of this modest and unexpectedly affable film.
A man with experience in television, Theroux not only interviews
people connected to Scientology, but also begins a search for
actors that would play its most praised characters. The result is
a series of scenes that are both funny and revealing. The film
tries to disarm the rhetorical structure with essentially liturgical
elements this belief appears to be sustained by. DO
Reino Unido / Estados Unidos - UK / US, 2015
99 / DCP / Color / Espaol - Spanish
D: John Dower G: Louis Theroux, John Dower F: Will Pugh
E: Paul Carlin M: Dan Jones P: Simon Chinn
I: Louis Theroux, Rob Alter, Paz de la Huerta, Tom De Vocht
Contacto / Contact
The Festival Agency. Sarah Cagneaux
T +33 9 5490 4863
E sarah@thefestivalagency.com
W thefestivalagency.com

REQUISITOS PARA SER
UNA PERSONA NORMAL
Requirements to Be a Normal Person
Mara no tiene trabajo ni un departamento donde vivir; su vida
romntica es inexistente y est distanciada de su familia. En
una entrevista le preguntan qu tipo de persona es y, tras dar-
se cuenta de que no cumple ninguno de los requisitos para ser
considerada normal, decide cambiar.
La pera prima de Leticia Dolera se encuentra inundada por
un irresistible halo de frescura y encanto natural. La actriz y
realizadora utiliza los moldes de la comedia romntica para su-
mergirnos en un universo de colores pop y espritu ensoador,
tras el que se esconde un incisivo retrato generacional en torno
a las frustraciones e inseguridades de una serie de personajes
que parecen no encontrar su lugar en el mundo. Dolera ironiza
en torno a los clichs que se establecen alrededor de las cri-
sis personales, los manuales de autoayuda y las terapias, para
centrarse en el sentimiento de fragilidad y desencanto de todos
aquellos que se sienten excluidos dentro de una sociedad que
no permite que se cuele por sus rendijas ninguna excepcin a
la norma, ningn atisbo de extraeza. Una deliciosa y pegadiza
fbula moral. Beatriz Martnez
LETICIA DOLERA
Naci en Barcelona, Espaa, en 1981 y estudi actuacin en Los ngeles.
Trabaj como actriz en varios largometrajes y series de televisin. Dirigi
los cortometrajes Lo siento, te quiero (2009) y A o B (2010).
She was born in Barcelona, Spain, in 1981, and studied acting in Los
Angeles. She has worked as an actress in many features and television
series. She directed the shorts Lo siento, te quiero (2009) and A o B (2010).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PASIONES
Mara doesnt have a job or an apartment; her love life is non-
existent, and shes distanced from her family. At an interview,
they ask her what kind of person she is and, after realizing she
doesnt fulfill any of the requirements needed to be considered
normal, she decides to make a change.
Leticia Doleras first feature is filled with an irresistible halo of
freshness and natural charm. The actress and filmmaker uses
romantic comedy molds to submerge us into a universe of pop
colors and a dreamy universe that hides an incisive generational
portrait of the frustrations and insecurities of a series of char-
acters who cant seem to find their place in the world. Dolera
ironically describes the clichs around personal crisis, self-help
manuals and therapies, and focuses on the feelings of fragility
and disappointment suffered by all those who feel they were
left out of a society that doesnt allow any exceptions or hints
of weirdness filtering through its cracks. A delicious and catchy
moral fable. BM
Espaa - Spain, 2015 / 94 / DCP / Color / Espaol - Spanish
D, G: Leticia Dolera F: Marc Gmez del Moral E: David Gallart
DA: Laia Ateca Font S: Alfredo Daz Boersma M: Luthea Salom
P: Oriol Maym, Paco Plaza, Gabriel Arias Salgado PE: Oriol Maym,
Paco Plaza, Gabriel Arias Salgado CP: Corte y Confeccin de Pelculas
El estmago de la vaca Telefnica Studios
I: Leticia Dolera, Manuel Burque, Silvia Munt, Jordi Llodr
Contacto / Contact
Latido Films. Marta Hernando
T +34 915 488 877
E latido@latidofilms.com W latidofilms.com
297
PREMIERE MUNDIAL / WORLD PREMIERE
PASSIONS
VAPOR
Vapour
Dos amantes se reencuentran una noche en la puerta de un
velatorio y comienzan a caminar juntos. El recorrido oscilar
por distintos espacios hasta que la noche se haga da.
Un hombre y una mujer atraviesan una noche calurosa en
Buenos Aires. Motivado por una muerte en la familia, el regre-
so de ella ha propiciado el reencuentro, tras aos sin verse.
La larga caminata sin rumbo pronto da lugar a una sucesin
de imgenes y relatos vagamente espectrales, desde la rfaga
de movimiento que se forma a travs de la ventana del subte
hasta una lejana historia sobre el espritu que se resista a
desalojar un viejo edificio del sur de la ciudad, pasando por el
esbozo de una novela acerca de un hombre obsesionado con
una desaparicin. De lo ms terrenal (el agobiante aire del
verano; las calles cada vez ms desoladas) a lo ms inasible
(las conversaciones que retoman el hilo de vidas pasadas; las
fantasas, los sueos), Vapor parece recorrida por una intui-
cin: la de que todos los reencuentros son, en el fondo, relatos
de fantasmas. Mariano Kairuz
MARIANO GOLDGROB
Naci en Argentina en 1975, y estudi realizacin cinematogrfica en la
ENERC. Entre 2000 y 2008, fue programador del Festival de Cine de Mar
del Plata, y tambin realiz varios cortos y videoclips.
He was born in Argentina in 1975 and studied filmmaking at the ENERC.
Between 2000 and 2008, he was a programmer at the Mar del Plata Film
Festival, and has also made many shorts and music videos.
298 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Two lovers reunite one knight at the entrance of a wake and
start walking together. The walk will oscillate through different
spaces until night turns into day.
A man and a woman wander through a warm night in Buenos
Aires. Her return, due to a death in the family, has favored the
reunion, after years without seeing each other. The long, aimless
walk, soon gives way to a series of vaguely spectral images and
stories, from the gust of movement formed through the subway
window to the old tale of the spirit that refused to leave an old
building in the citys south, and including the sketch of a novel
about a man obsessed with a disappearance. From the most
worldly (the suffocating summer air; the increasingly deserted
streets) to the most ethereal (the conversations that get back on
track with past lives; the fantasies, the dreams), Vapour seems
pierced through by an intuition: that all reunions are, deep down,
ghost stories. MK
Argentina, 2016 / 70
DCP / Color / Espaol - Spanish
D, G: Mariano Goldgrob F: Soledad Rodrguez
E: Francisco Vzquez Murillo DA: Guadalupe Arriegue
S: Francisco Seoane M: Diego Petrecolla, Martn Garrido
P: Rita Falcn PE: Mariano Goldgrob, Galel Maidana CP: Cine Insular
I: Julia Martnez Rubio, Julin Calvio
Contacto / Contact
Cine Insular. Mariano Goldgrob
T +54 9 11 5040 5107
E marianohg@gmail.com

VIDA SEXUAL DE LAS PLANTAS
Sex Life of Plants
Un accidente transforma a Guillermo, la pareja de Brbara, en
un extrao al dejarle algunas secuelas neurolgicas. Mientras
ella lucha con su propio dolor, se involucra con un hombre
que le ofrece estabilidad, pero la memoria del amor perdido
la atormenta.
Vida sexual de las plantas remite, estilsticamente, a cierto tipo
de drama indie norteamericano, uno que no carga las tintas
dramticas con la intencin de llegar a un final revelador. Por
el contrario, la pelcula emociona en los pequeos momentos:
encuentros, desencuentros y, a la vez, las facilidades y compli-
caciones que existen a la hora de empezar una nueva relacin
con alguien a quien no se ama de la misma manera pero con
quien se puede llevar una vida normal. Es una pelcula con la
que cualquier espectador que haya tenido que enfrentar una
prdida de este tipo se pueda identificar; que siempre sorpren-
de con inteligentes apuntes sociales y familiares. Un drama que
no se parece en nada al tipo de cine miserabilista latinoameri-
cano que viene funcionando tan bien en festivales en los ltimos
aos. Diego Lerer
SEBASTIN BRAHM
Naci en Santiago de Chile en 1973. Actu en pelculas como Soy mucho
mejor que vos (Bafici 13). Tambin escribi y produjo el documental La
pennsula de los volcanes (2004) y, posteriormente, dirigi el largometra-
je El circuito de Romn (2011).
He was born in Santiago de Chile in 1973. He acted in the films Much
Better Than You (Bafici 13). He also wrote and produced the documen-
tary The Volcanic Peninsula (2004) and directed the feature El circuito
de Romn (2011).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PASIONES
An accident turns Guillermo, Brbaras partner, into a stranger
due to some neurological consequences. While she struggles
with her own pain, she gets involved with a man who offers
her some stability, but the memory of lost love haunts her.
Sex Life of Plants style resembles a certain kind of American
indie films that doesnt stress the dramatic features of its plot in
order to reach a revealing finale. On the contrary, this film draws
emotion from tiny moments: encounters, failed encounters, and
both the easy and difficult situations you face when starting a
new relationship with someone you dont love in the same way,
but with whom you can have a normal life. This is a film any
viewer who had to deal with this kind of loss can relate to, and
constantly surprises you with smart notes on society and family.
Its a drama that doesnt look at all like the kind of Latin Ameri-
can misery-focused cinema that has been working so well in
film festivals recently. DL
Chile, 2015 / 94 / DM / Color / Espaol - Spanish
D, G, E, P: Sebastin Brahm F: Benjamn Echazarreta,
Sergio Armstrong DA: ngela Torti S: Roberto Espinoza
M: Santiago Farah, Toms Gubbins PE: Franco Valsecchi, Maite Alberdi
CP: Escala Humana I: Francisca Lewin, Mario Horton, Cristin Jimnez,
Nathalie Nicloux, Gloria Laso
Contacto / Contact
Habanero. Alfredo Calvino
T +55 22 2629 1170
E acalvino@habanerofilmsales.com
W habanerofilmsales.com
299
PASSIONS

BUNKER

Fuera de cualquier compromiso formalista, en un potente

blanco y negro y sin recurrir a los dilogos, Sandro Aguilar
construye el universo enrarecido en el que un joven inestable
emocionalmente conoce a una chica que vive con sus padres
swingers en un parque de casas rodantes. La fascinacin mu-
Portugal, 2015 / 30 / DCP / Color
tua surge pero l se enamora de ella y rpidamente descubre
que no es correspondido. D, G, E: Sandro Aguilar F: Rui Xavier S: Tiago Matos P: Luis Urbano,
Sandro Aguilar CP: O Som e a Fria I: Clara Jost, Antnio Jlio
Free of any formalistic commitment, in powerful black and
Duarte, Isabel Abreu, Joo Pedro Vaz, Cludia Efe
white images and without dialogue, Sandro Aguilar builds a
strained environment in which an emotionally unstable young
man meets a girl who lives with her swinger parents in a mo-
bile home community. Mutual fascination arises and he quickly
falls in love with her, only to discover shortly after that she does
not share his feelings.

PREMIERE AMERICANA / AMERICAN PREMIERE

UNDISCLOSED RECIPIENTS

Esta pelcula comenz en el Festival Musical de Paredes de

Coura, en Portugal. Aguilar observ el estado fsico y mental de
los asistentes y agreg una buena dosis de alienacin con una
perspectiva sugerente. Su experimento cinemtico es mayor-
mente atmosfrico y casi sin relato; su sinopsis es breve: antes
y despus del segundo beso. Portugal, 2015 / 26 / DCP / Color
This film started at the Paredes de Coura Music Festival in Portu- D, G, E: Sandro Aguilar F: Rui Xavier P: Mrio Micaelo
gal. Aguilar observed the physical and mental state of attendees CP: Curtas Metragens CRL
and added a big pinch of alienation with a suggestive perspec-
tive. His cinematic experiment is mainly atmospheric with little
story, the synopsis is brief: before and after the second kiss.

SANDRO AGUILAR
Naci en Portugal en 1974. Estudi cine en la Escuela Superior de Tea-
tro y Cine y en 1998 cofund la compaa O Som e a Fria. En 2011
el Bafici le dedic un foco en el que se exhibieron sus cortometrajes
adems de su nico largometraje, A zona. Luego dirigi el corto False
Twins (Bafici 15).
He was born in Portugal in 1974. He studied film at the Upper School of Contacto / Contact
Theater and Film and, in 1998, was one of the founders of the company Agencia - Portuguese Short Film Agency. Salette Ramalho
O Som e a Fria. In 2011, Bafici did a focus where his shorts were T +351 252 646 683
shown, as well as his only feature, Uprise. Later, he directed the short E agencia@curtas.pt
False Twins (Bafici 15). W curtas.pt/agencia

300 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

ARTES
ARTS
PREMIERE MUNDIAL / WORLD PREMIERE
ARTS
ADN BUENOSAYRES. LA PELCULA
Adn Buenosayres. The Movie
Entre el registro documental y algunas escenas de ficcin,
Juan Villegas indaga acerca de Adn Buenosayres, la novela
ms emblemtica de Leopoldo Marechal.
Juan Villegas retrata a Leopoldo Marechal, escritor que fuera
demasiado prximo a lo popular como para congraciarse con
los crculos vanguardistas de su poca, y demasiado vanguar-
dista como para ser considerado popular. As, Adn Buenosa-
yres nunca lleg a ocupar el lugar que mereca en el panorama
de la literatura argentina. Como en una especie de extensin de
su estigma, la pelcula traba relacin con la adaptacin cinema-
togrfica que proyect Manuel Antn y que, en un movimiento
en espejo, sufri la falta de apoyo necesario para hacer posible
su existencia. Acaso no haya mejor homenaje a Marechal hoy
que esta pelcula, sinttica en sus formas y respetuosa de la
palabra, que mira su obra desde su dimensin presente, revisita
el pasado y lo actualiza. Magdalena Arau
JUAN VILLEGAS
Naci en Buenos Aires en 1971, y estudi en la Universidad del Cine.
Fue coguionista de Modelo 73 (Bafici 01) y Una semana solos (Mencin
Especial en Bafici 08). Dirigi los largometrajes Sbado (Bafici 01), Los
suicidas (Bafici 06), Ocio (Bafici 10; junto a Alejandro Lingenti) y Victoria
(Bafici 15).
He was born in Buenos Aires in 1971 and studied at the Universidad
del Cine. He co-wrote 73 Model (Bafici 01) and A Week Alone (Special
Mention at Bafici 08). He directed the features Saturday (Bafici 01), Los
suicidas (Bafici 06), Ocio (Bafici 10; along with Alejandro Lingenti) and
Victoria (Bafici 15).
302 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Between documentary and fiction scenes, Juan Villegas
inquires about Adn Buenosayres, Leopoldo Marechals
iconic novel.
Juan Villegas portrays Leopoldo Marechal, a writer who was
too close to the popular feel to make amends with the avant-
garde champions of his time, and too vanguard to be regarded
as popular. So, Adn Buenosayres got the place it deserved in
the landscape of Argentinian literature. Like a kind of extension
of that stigma, this film connects with the adaptation filmmaker
Manuel Antn had in mind and, in a parallel situation, suffered a
lack of support that prevented it from becoming a reality. There
may not be a better tribute to Marechal today than this film,
which is synthetic in its forms and respectful in its words, and
looks at this body of work from its current dimension, revisits the
past, and updates it. MA
Argentina, 2016 / 45 / DCP / Color & B&N
Espaol - Spanish
D, G: Juan Villegas F: Soledad Rodrguez E: Manuel Ferrari
DA: Ana Cambre S: Francisco Pedemonte P, PE: Juan Villegas
CP: Tresmilmundos Cine, RTA, EDUCAR, INCAA TV I: Pablo Sigal,
Julin Tello, Manuel Antn, Mara de los ngeles Marechal, Martn Prieto
Contacto / Contact
Tresmilmundos Cine. Juan Villegas
T +54 9 11 5476 6916
E juanmaville@gmail.com

ANGLICA [UNA TRAGEDIA]
Anglica [a tragedy]
Este documental retrata, a partir de ensayos, autorretratos
fotogrficos, textos y videos del diario personal de Anglica
Liddell, un universo artstico libre, radical y potico atormen-
tado por la soledad, el sexo, el amor, la belleza y la muerte.
Anglica Liddell, la Alicia salvaje, prepara Todo el cielo sobre
la tierra (el sndrome de Wendy) tragando tierra a manotazos,
dejando la voz en aullidos en cada ensayo. Urgencia vital, ella
repite: mi obra es mi propia vida. En su teatro, ese caudal de
intensidades y asociaciones hace del sentido algo esquivo y a
la vez tan directo como un golpe en la cara dado con rabia y
amor, con la fuerza justa. Tal como dice a sus actores, hay una
intuicin avasallante que deja las explicaciones de lado para
permitir el misterio. Los ensayos devienen en largas sesiones
fotogrficas con ella encerrada en el cuarto de un hotel, en los
dibujos de sus cuadernos, recortes de noticias, anotaciones
garabateadas y diarios interminables. Un grito cuya resonancia
perdura, invade el espacio y lo domina. Magdalena Arau
MANUEL FERNNDEZ-VALDS
Naci en Pontevedra, Espaa, en 1979 y estudi comunicacin audio- Espaol - Spanish
visual. En 2006 obtuvo un mster en Documental de Creacin de la
Universidad Pompeu Fabra, donde desarroll la idea de su primer largo-
metraje documental: Manuel y Elisa (2008). En 2012 dirigi su segundo
documental, Fraga y Fidel sin embargo.
He was born in Pontevedra, Spain, in 1979 and studied audiovisual
communication. In 2006 he got an MA in Creative Documentary at the
Pompeu Fabra University, where he developed the idea for his first docu-
mentary feature: Manuel y Elisa (2008). In 2012 he directed his following
documentary, Fraga y Fidel sin embargo.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
ARTES
This documentary uses essays, photographic self-portraits,
texts, and videos from the personal journal of Anglica Lidell,
a free artistic universe, radical and poetic, and tormented by
loneliness, sex, love, beauty, and death.
Anglica Liddell, wild Alice, prepares Todo el cielo sobre la tierra
(el sndrome de Wendy) swallowing handfuls of dirt, howling her
voice away in each rehearsal. A vital urgency, she repeats; my
work is my own life. In her plays, that flow of intensities and
associations turns sense into something elusive and, at the
same time, as direct as a blow in the face inflicted with rage
and love, with the right force. As she tells her actors, theres
some overwhelming intuition that leaves explanations aside in
order to allow for mystery to appear. Rehearsals turn into long
photo sessions locked up in a hotel room, into the drawings in
her notebooks, into news clippings, scribbled annotations and
endless journals. A cry whose resonance endures, invades the
space and dominates it. MA
Espaa - Spain, 2016 / 86 / DCP / Color
D, F: Manuel Fernndez-Valds
S: Ramn Fernndez, Fernando Carmena P: Ester Rodrguez-Snchez,
Manuel Fernndez-Valds CP: Ordenpropia I: Anglica Liddell
Contacto / Contact
Ordenpropia. Manuel Fernndez-Valds
E mfvcalderon@gmail.com
W ordenpropia.com
303
ARTS
HORIZONTES
Horizons
En las mticas salas de ensayo del Gran Teatro de La Habana,
Amanda y Viengsay le ponen el corazn a la exigente rutina
que su disciplina demanda de ellas. Sus pasos y su aspira-
cin hacen eco de los grandes logros de su predecesora, Alicia
Alonso, la prima ballerina, insuperable a sus 90 aos.
En los primeros minutos de Horizontes, las tres protagonistas
de la pelcula se deslizan sobre la ejecucin de una pirouette
que funciona como elipsis y nos introduce a quienes repre-
sentan pasado, presente y futuro del ballet clsico en Cuba.
Todo comienza con imgenes de archivo de la legendaria Alicia
Alonso en el momento lgido de su carrera; corte, y sobre el
mismo ejercicio conocemos a la actual prima ballerina Viengsay
Valds; otro corte, y vemos a la jovencsima Amanda de Jess
Prez Duarte preparando una audicin para el Ballet Nacional.
Horizontes es un film arrebatador sobre tres mujeres que se
entregan y permiten ser modeladas msculo a msculo, gesto
a gesto, movimiento a movimiento, todo por alcanzar la per-
feccin en el arte que transforma el cuerpo en un instrumento
sublime. Fran Gayo
EILEEN HOFER
Naci en Zurich, Suiza, en 1976, y estudi historia del cine. Desde 2005
trabaja como periodista independiente y fotgrafa.
She was born in Zurich, Switzerland, in 1976, and studied film history.
Since 2005, she has been working as an independent journalist and
photographer.
304 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In the mythical rehearsal rooms of Havanas Grand Theater,
Amanda and Viengsay put great effort to their demanding rou-
tine. Their moves and their aspirations echo those of their pre-
decessor, Alicia Alonso, the prima ballerina, unbeatable at 90.
The first minutes of Horizontes feature the three female pro-
tagonists gliding over the execution of a pirouette, which works
as an ellipsis and introduces us to the people who represent the
past, present, and future of classic ballet in Cuba. It all starts
with archive footage of the legendary Alicia Alonso at the height
of her career. Cut, and through that same exercise we meet the
current prima ballerina Viengsay Valds. Another cut, and we
see the very young Amanda de Jess Prez Duarte preparing
an audition for the National Ballet. Horizontes is a breathtak-
ing film about three woman who deliver and allow themselves
to have every muscle, gesture, and movement modeled out in
order to reach perfection in the art that transforms the body into
a sublime instrument. FG
Suiza - Switzerland, 2015 / 70 / DCP / Color
Espaol - Spanish
D, G: Eileen Hofer F: Grgory Bindschedler
E: Damian Plandolit, Valentin Rotelli S: Benjamin Benoit|
M: Julien Painot, Ladislaw Agobekov, Heidi Happy
P: Aline Schmid CP: Intermezzo Films I: Alicia Alonso, Viengsay Valds
Contacto / Contact
Taskovski Films. Tijana Djukic
T +44 387 6565 2046
E sales@taskovskifilms.com
W taskovskifilms.com ~ horizontes-film.ch

KOSICE HIDROESPACIAL
Kosice Hydrospatial
Gyula Kosice es un mito del arte contemporneo. A los 91
aos, trabaja en nuevas obras e insiste con la idea de exponer
en el Centro Pompidou en Pars.
Kosice, artista fundamental de las artes visuales argentinas,
construy su potica con el agua y la luz como elementos
fundantes, estableciendo la fluidez y el movimiento como una
afirmacin paradojal para con la escultura: la firmeza de la for-
ma como continente habitado por elementos sutiles y despla-
zamientos azarosos. Autor de una obra integral que excede lo
plstico, Kosice ha publicado tambin poesa y teora esttica, thetic theory, including the formulation of that urban utopia, pure
incluyendo la formulacin de aquella utopa urbana, pura ima-
gen de futuro, que es su ciudad hidroespacial. Fundador del
grupo Mad, fue autor de su manifiesto y editor de la revista Arte
Mad Universal. La pelcula rescata tanto su entorno afectivo
como la visin de colegas y discpulos, y la mirada extasiada de
un montn de nios en una de las habituales visitas a su taller.
Magdalena Arau
GABRIEL SAIE
Naci en Buenos Aires en 1985. Estudi diseo de imagen y sonido en
la UBA y direccin de cine y TV en TEBA. Fue seleccionado en el Bafici
Talent Campus de 2009 por su corto documental Nuestra casa.
He was born in Buenos Aires in 1985. He studied image and sound
design at the UBA and film and TV directing at TEBA. He was selected
at Baficis 2009 Talent Campus for his documentary short Nuestra casa.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
ARTES
Gyula Kosice is a myth of contemporary art. At 91, hes making
new works and insists on the idea of exhibiting them at Paris
Pompidou Center.
Kosice, an essential Argentine visual artist, built his poetics with
water and light as its founding elements, establishing fluidity
and movement as a paradoxical affirmation towards sculpture:
the firmness of form as a continent inhabited by subtle ele-
ments and eventful shifting. The author of a body of work that
exceeds the plastic, Kosice has also published poetry and aes-
image of the future, that is his hydrospace city. Founder of the
Mad group, he was the author of its manifest and editor of the
Arte Mad Universal magazine. The film brings up his intimate
circle as well as the vision of colleagues and disciples, and the
ecstatic gaze of a group of kids in one of the usual visits to his
workshop. MA
Argentina, 2016 / 71 / DCP / Color & B&N
Espaol / Francs / Ingls - Spanish / French / English
D, G: Gabriel Saie F: Mariano Surez E: Gabriel Saie, Federico Rozas
S: El Escocs M: Juan Pablo Dos Santos
P, PE: Martn Rodrguez Redondo CP: Afluencias
I: Gyula Kosice, Max Prez Fallik, Vivian Luz, Irina Fallik, Ladislao Gyori
Contacto / Contact
Afluencias. Gabriel Saie, Martn Rodrguez Redondo
T +54 9 11 3565 4076 ~ +54 9 11 6337 4369
E saiegabriel@gmail.com ~ martinrodred@gmail.com
305
PREMIERE MUNDIAL / WORLD PREMIERE
ARTS
LA ORGANIZACIN NEGRA
(EJERCICIO DOCUMENTAL)
La Organizacin Negra (Documentary Exercise)
Buenos Aires, 1984. La euforia democrtica tie todo de un
optimismo multicolor. Mientras tanto, un grupo de jvenes
se prepara para intervenir el espacio pblico provocando a
los espectadores.
Cmo llevar el teatro fuera de sus propios lmites? Esa parece
ser la pregunta sobre la que se construye el documental dirigido
por Julieta Rocco acerca de La Organizacin Negra, el grupo de
performers que puso de cabeza la escena portea all por el 84.
Porque, en pleno fervor de la primavera alfonsinista y cuando
todo pareca direccionar hacia lo poltico y sus instituciones, La
Negra se desmarca para trabajar desde lo ldico y lo salvaje
de una esttica industrial, oscura, y desde una apuesta por el
cuerpo indita en esos aos en la Argentina. En la palabra de
sus propios protagonistas, la pelcula recrea momentos clave del
grupo: desde Cemento y La tirolesa/Obelisco hasta su disolucin
en los noventa, todo el vrtigo de una agrupacin que supo to-
mar la calle con su arte para conquistar el aire. Mariano Valerio
JULIETA ROCCO
Naci en Buenos Aires en 1973. Estudi diseo de imagen y sonido, y
realiz varios cortos y video instalaciones, que fueron exhibidos en el
Centro Cultural Recoleta y otros lugares. Adems es poeta.
She was born in Buenos Aires in 1973. She studied image and sound design
and directed several short films and video installations that were displayed at
the Recoleta Cultural Center, among other places. Shes also a poet.
306 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Foto / Photo: Pompi Gutnisky
Buenos Aires, 1984. The democratic euphoria taints every-
thing with a multi-colored optimism. Meanwhile, a group of
young people is getting ready to intervene public areas and
provoke viewers.
How do you drive theater off its own limits? That seems to be
the question that supports this documentary directed by Julieta
Rocco about La Organizacin Negra, the group of performers
who turned the 1984 Buenos Aires scene upside down. Because,
amidst the fervor of the Alfonsin Spring and when everything
seemed to be oriented to politics and institutions, La Negra set
itself apart and worked with the playful and wild spirit of an indus-
trial, dark aesthetics and a focus on the body that was unparal-
leled in Argentina back then. Through the words of the protago-
nists, the film reenacts key moments of the group: from Cemento
and La tirolesa/Obelisco to its breakup in the 90s, the whole
vertigo of a group that used its art to conquer the streets. MV
Argentina, 2016 / 70 / DCP / Color & B&N / Espaol - Spanish
D, P: Julieta Rocco G: Brbara Villafae
E: Gachi Garca Daz S: Luciano Fusetti M: Gaby Kerpel
PE: Carolina Krasasky I: Manuel Hermelo, Pichn Baldin,
Diqui James, Gaby Kerpel, Charly Nijensohn
Contacto / Contact
Julieta Rocco
T +54 9 11 6260 7092
E londocumental@gmail.com

MAPPLETHORPE: LOOK AT THE PICTURES
Mapplethorpe: Mir las fotos
Bailey y Barbato empujan a los espectadores a mirar deteni-
damente la obra del fotgrafo Robert Mapplethorpe, conocido
por sus imgenes explcitas de rganos genitales y actos de
sadomasoquismo, lo que demuestra que todava tienen el po-
der de provocar, seducir y enfurecer.
La produccin de una muestra retrospectiva que se lleva ade-
lante entre el Getty Center y el LACMA es el disparador ideal
para meterse con una de las obras ms provocadoras de los
ltimos 60 aos. El documental dirigido por Fenton Bailey y
Randy Barbato (y producido por HBO) escapa de la cronologa
de una vida y se planta, como pocos trabajos, de manera expl-
cita sobre el fotgrafo en ese loop en el que Mapplethorpe se
convierte y reconvierte en Mapplethorpe una y mil veces. Nueva
York en su momento ms salvaje, el cuerpo como un territorio a
explorar y explotar, y la piel de un hombre que supo reunir a dios
y al diablo en una misma imagen hasta consumirse en su propio
fuego. Es el trazo profundo de la fotografa que se desplaza
del testimonio al arte, y de ah a una de las experiencias ms
fascinantes y densas del siglo XX. Mariano Valerio
FENTON BAILEY Y RANDY BARBATO
Fundaron su compaa de produccin World of Wonder en los aos DCP / Color & B&N / Ingls - English
noventa, tras conocerse en la Universidad de Nueva York. Produjeron y
dirigieron numerosos documentales enfocados en la sexualidad.
They founded the production company World of Wonder in the 90s, after
meeting at NYU. They produced and directed a number of documentaries
focusing on sexuality.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
ARTES
Bailey and Barbato encourage the audience to closely observe
the work of photographer Robert Mapplethorpe, known for his
explicit images of genital organs and sadomasochistic acts,
showing they still have the power of provoking, seducing and
getting people furious.
The production of a retrospective exhibit carried out between
the Getty Center and the LACMA proves ideal to delve into
one of the most provocative works of the past 60 years. The
documentary directed by Fenton Bailey and Randy Barbato (and
produced by HBO) eschews the chronology of a life and focuses
explicitly, like few other works, on the photographer in that loop
where Mapplethorpe becomes Mapplethorpe again and again.
New York in its wildest moment, the body as a land to explore
and exploit, and the skin of a man who made god and the devil
converge in the same image until consuming in its own fire. Its
the deep stroke of photography going from testimony to art, and
then to one of the most fascinating and dense experiences of
the 20th century. MV
Reino Unido - UK, 2016 / 108
D: Fenton Bailey, Randy Barbato F: Huy Truong, Mario Panagiotopoulos
E: Langdon F. Page M: David Benjamin Steinberg P: Fenton Bailey,
Randy Barbato, Katharina Otto-Bernstein, Mona Card PE: Sheila Nevins
CP: Film Manufacturors, World of Wonder
Contacto / Contact
Dogwoof. Luke Brawley
T +44 207 253 6244
E luke@dogwoof.com
W dogwoofglobal.com ~ mapplethorpefilm.com
307
PREMIERE LATINOAMERICANA / LATAM PREMIERE
ARTS
UNCLE HOWARD
To Howard
En 2011, Brookner inici un proyecto para encontrar y res-
taurar las pelculas y el material de archivo de su difunto to
su ms temprana influencia del cine, el director Howard
Brookner. Este es su homenaje a l, a travs del acceso a un
tesoro de videos caseros y fotos familiares.
Saba que l se iba a morir y saba que eso era una cosa tris-
te. Pero, de alguna manera, nada en torno a Howard poda ser
triste. El que habla es Aaron Brookner, director de esta hermosa
pelcula, y se refiere a su to, Howard Brookner, que muri cuan-
do Aaron tena ocho aos. Los recuerdos que el sobrino atesor
sobre su to, el modo en que esa figura se fue agigantando y la
consolidacin de la herencia (un director de cine hizo a otro y
viceversa) desembocan en un film-ro que lo cuenta todo: William
Burroughs, Robert Wilson y Madonna (protagonistas de la obra
de Howard); la Nueva York salvaje de los ochenta; o el modo en
que el arte realmente daba forma a la vida, el amor, y la muerte.
Pero, ms all de los nombres, lo que Uncle Howard cuenta a la
perfeccin es el modo en que alguien puede pasar por el mundo
dejando huellas imborrables en la gente. Marcelo Panozzo
AARON BROOKNER
Naci en Nueva York, y estudi cine en la Universidad de Vassar. Comenz
su carrera trabajando en Coffee and Cigarettes de Jim Jarmusch y dirigi
el corto The Black Cowboys (2004) y el largo The Silver Goat (2011).
He was born in New York and studied film at Vassar College. He started his
career working in Jim Jarmuschs Coffee and Cigarettes and directed the
short The Black Cowboys (2004) and the feature The Silver Goat (2011).
308 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In 2011, Brookner started a project whose goal was to find
and restore the films and archive footage of his late uncle his
earliest cinematic influence, director Howard Brookner. This
is his tribute to him, through the access to a treasure made of
home movies and family photos.
I knew he was going to die. And I knew death was a sad thing.
But somehow nothing was sad around Howard. The one talking
is Aaron Brookner, director of this beautiful film, and hes refer-
ring to his uncle, Howard Brookner, who died when Aaron was
eight. The memories he cherished of his uncle, the way in which
that figure became bigger and bigger and the consolidation of
an inheritance (one filmmaker made another, and vice versa)
flow into this film-river that tells it all: William Burroughs, Robert
Wilson and Madonna (protagonists of Howards work); the wild
New York of the 80s; the way in which art really shaped life,
love and death. But apart from the names, what Uncle Howard
tells perfectly is the way in which someone can pass through the
world and leave indelible marks in people. MP
Estados Unidos / Reino Unido - US / UK, 2016 / 96
DCP / Color / Ingls - English
D, G: Aaron Brookner F: Andr Dbert, Gregg de Domenico
E: Masahiro Hirakubo S: Diana Sagrista, Alberto Muoz
P: Paula Vacaro, Sara Driver, Alex Garcia PE: Jim Jarmusch
CP: A Pinball London Production In Association with Creative Europe,
IFP, The Filmmaker Fund, Itaca Films, Bertha Foundation,
Jerome Foundation I: William S. Burroughs, Howard Brookner,
Patti Smith, Jim Jarmusch, Tom Dicillo
Contacto / Contact
The Film Collaborative. Jeffrey Winter
T +1 323 207 8321 E festivals@thefilmcollaborative.org
W thefilmcollaborative.org ~ unclehowardfilm.com
NOCTURNA
LATE NIGHT
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LATE NIGHT
A LA RECHERCHE DE LULTRA-SEX
In Search of the Ultra-Sex
En bsqueda del ultra-sexo
La Tierra se ve afectada repentinamente por una extraa en-
fermedad que infecta a las personas con un frenes sexual
generalizado, y los nicos que pueden salvarla son un grupo
de astronautas. El resultado es un mash-up de cientos de pe-
lculas porno de los setenta y ochenta.
Se suele atribuir a varios crticos la definicin viste una, viste
todas para hablar de cine porno. Nunca es eso ms cierto que
ahora, en una poca de arte y reproductibilidad tcnica que no
hubiera soado ni Walter Benjamin, en la que el porno ha muta-
do de pelculas a escenas sin mucho argumento. Haciendo car-
ne la base del exploitation de Ahora usted podr ver eso que
no le dejaron ver!, que tiene por lo menos 70 aos de historia,
y usando una suerte de excusa de found footage con el FBI y
unos archivos desclasificados, Nicolas y Bruno nos llevan en
una excursin demente por ese gnero olvidado: el de las pel-
culas con argumento. Valindose del arma del doblaje, que por
momentos nos recuerda a Eduardo DAngelo en Hiperhumor, y
con un sentido del humor grueso, la dupla francesa construye
un relato brillante donde la estrella de esta pornografa pasada
no es el sexo, sino las partes actuadas. Santiago Calori
NICOLAS CHARLET / BRUNO LAVAINE
Comenzaron a escribir y dirigir videoclips en los noventa. Tambin
realizaron varios cortos y telefilms como 99 francs (2007) y Le Grand
mchant loup (2013).
They started to write and direct music videos in the 90s. They also
directed several short films and TV movies, including 99 francs (2007)
and Le Grand mchant loup (2013).
310 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The Earth is suddenly affected by a strange illness that infects
people with a generalized sexual frenzy, and the only ones who
can save mankind are a group of astronauts. The result is a
mash-up of hundreds of 70s and 80s porn films.
The expression youve seen one, youve seen all of them is
usually attributed to film critics about porn cinema. That has
never been more accurate than today, in an age of art and tech-
nical reproducibility Walter Benjamin would never have dreamed
of, where porn has mutated from films into scenes with not
much of a story. Embodying the exploitation motto Now youll
get to see that thing they didnt let you see! which is about 70
years old and using a sort of excuse for found footage with the
FBI and unclassified files, Nicolas & Bruno take us through an
insane journey into that forgotten genre: porn films with a plot.
With dubbing as a weapon, at times reminding us of Hiperhu-
mors Eduardo DAngelo, and featuring some thick humor, the
French duo builds a bright story where the star of old porn is not
the sex, but the acting. SC
Francia - France, 2015 / 60 / DCP / Color / Francs - French
D, G, F, E, DA: Nicolas Charlet, Bruno Lavaine S: Thomas Charlet,
Emmanuel Augeard, Mlissa Petitjean M: Jean Croc
P, PE: David Frenkel CP: Synecdoche I: Nicolas Charlet, Bruno Lavaine
Contacto / Contact
Synecdoche
T +33 180 058 491
E david@synecdoche.fr
W synecdoche.fr

ALONE
Hon-ja
Solo
Soo-min filma accidentalmente a una mujer que est siendo
asesinada por un grupo de hombres enmascarados. Tiempo
despus se despierta y cree que todo ha sido una pesadilla,
pero luego descubrir que en realidad se encuentra atrapado
en un ciclo interminable de sueos y muerte.
Luego de la extraa road movie en 3D A Fish, el segundo largo
de Park Hong-min se llama, simplemente, Alone. Y su hroe, un
joven documentalista, luego de ser asesinado una, dos, tres y
todava ms veces, est realmente, infinitamente, metafsicamen-
te solo. Lo que comienza como una Hechizo de amor sin amor
ni marmota ni Sonny ni Cher desemboca en una pesadilla con
estructura de laberinto. Como ese callejn de Sel, verdadera
escalinata al infierno de la cual el muchacho y sus espectros no
pueden escapar. Hay algo de Lynch, pero tambin de un episodio
de La dimensin desconocida completamente desbocado en este
film ultra independiente y mega ingenioso. Y formalmente ambi-
cioso: una de las mejores escenas persigue al protagonista du-
plicado, triplicado, cuadruplicado, en un plano secuencia perdido
en las subidas y bajadas del abigarrado barrio. Diego Brodersen
PARK HONG-MIN
Estudi direccin de cine en Corea del Sur, y dirigi el largometraje A
Fish (2011).
He studied filmmaking in South Korea, and directed the feature-length
film A Fish (2011).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE AMERICANA / AMERICAN PREMIERE
NOCTURNA
Soo-min accidentally films a woman being murdered by
a group of masked men. Some time later, he wakes up and
thinks it was all a nightmare, but he will find out that hes actu-
ally trapped in an endless cycle of dreams and death.
Park Hong-mins second film and follow up to his strange 3D road
movie A Fish is called, simply, Alone. And its hero, a young docu-
mentary filmmaker who has been murder not once but two, three,
and a lot more times, is really endlessly, metaphysically alone.
What starts as a Groundhog Day with no love, nor groundhog, nor
Sonny and Cher, ends up being a labyrinth-shaped nightmare.
Like that alley en Seoul, a true staircase to hell from which the boy
and his ghosts cannot escape. Theres an element of Lynch, but
also of a completely deranged Twilight Zone episode tone in this
ultra-independent and mega-clever film. Which is also formally
ambitious: one of the best scenes features the main character
duplicated, triplicated, and quadruplicated in a sequence shot that
gets lost in jumbled neighborhood. DB
Corea del Sur - South Korea, 2015
90 / DCP / Color / Coreano - Korean
D, G, E, DA, PE: Park Hong-min F: Kim Byeong-jung
S: Bae Yu-ri M: Oh Su-jin P: Cha Hye-jin CP: Nongbu Film
I: Lee Ju-won, Song You-hyun
Contacto / Contact
M-Line Distribution. Mathilda Lee
T +82 2796 2427
E sales@mline-distribution.com
W mline-distribution.com
311
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LATE NIGHT
COLLECTIVE INVENTION
Invencin colectiva
Este film surcoreano cuenta la historia de Park Go, un hom-
bre convertido en pez debido a los efectos secundarios de un
frmaco experimental. Su condicin de mutante lo eleva a la
categora de celebridad nacional.
Cada tanto, cuando nada nos ha preparado para eso, desde
Asia nos llega un cine que creamos olvidado: imgenes cons-
truidas con un desparpajo sublime, una capacidad desconcer-
tante para el giro imprevisto, falta de pudor, creencia ciega en
un cine cuyo destino inmediato es el ridculo o el asombro. El
director pulsa una cuerda que oscila entre la comedia impre-
visible, el melodrama tensado al mximo nivel y la melancola
propia de los monstruos llamados a no encajar en el mundo,
a abrazar con uncin su deformidad y salvarse, o a perderse
para siempre. Collective Invention, una pelcula nacida con un
aura especial para integrar una galera ms o menos reputada
de objetos raros del cine reciente, luce tan excntrica como su
protagonista. David Obarrio
KWON OH-KWANG
Naci en Corea del Sur en 1983, y dirigi los cortometrajes Encounter on
the Sea (2009), Green Slime (2012) y Suffocation (2012).
He was born in South Korea in 1983, and directed the short films Encoun-
ter on the Sea (2009), Green Slime (2012) and Suffocation (2012).
312 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
This South Korean film tells the story of Park Go, a man who
turned into a fish due to the side effects of an experimental
drug. His mutant condition leads him to become s national
celebrity.
Every now and then, when nothing prepares us for it, a cinema
we believed to be forgotten comes to us from Asia: images built
with a sublime freedom, a disconcerting ability for unexpected
plot twists, lack of shame, and a firm belief on a kind of cinema
whose immediate fate is ridicule or astonishment. The director
picks a chord that oscillates between the unforeseeable come-
dy, the highly tautened melodrama, and the melancholy of mon-
sters who dont fit in the world and embrace their deformity and
either be saved or lost forever. As eccentric as its protagonist,
Collective Invention is a film that was born with a special aura,
and is part of a somewhat renowned gallery of freak objects
from recent cinema. DO
Corea del Sur - South Korea, 2015 / 92 / DCP / Color
Coreano - Korean
D, G: Kwon Oh-kwang F: Kim Tae-soo E: Kim Hye-kyeong, Kim Woo-il
DA: Im Choi S: Gong Tae-won M: Jeong Hyun-soo P: Kim Woo-sang
PE: Jeong Tae-sung, Lee Chang-dong CP: Woo Sang Film I: Lee
Kwang-soo, Lee Chun-hee, Park Bo-young
Contacto / Contact
CJ Entertainment. Hawon Kim
T +82 2 371 8470
E hawon.klm@cj.net
W lineup.cjenm.com/films

GREEN ROOM
Habitacin verde
Tras perderse en los bosques de Oregon, los miembros de una
banda punk se convierten en los nicos testigos de un asesi-
nato perpetrado por una temible pandilla de skinheads.
Green Room tiene una gran premisa, y Saulnier la ejecuta de
manera hermosa: primero prepara el escenario y luego lo mina
de una forma lgica y apasionante, y hace que todo sea posi-
ble. La atencin al detalle en la forma en que se lleva a cabo
la batalla entre punks y skinheads es impresionante, al igual
que su verosimilitud. Ningn personaje es tratado de estpido
ni elevado mgicamente al estatus de hroe. Si bien estn ape-
nas esbozadas, todas sus historias previas cumplen su rol en la
lucha por su supervivencia, y un sinnmero de objetos despa-
rramados por ah son usados de una manera entre el hazlo t
mismo y MacGyver. Todo lo que queda por hacer es sentarse y
comerse las uas mientras uno ve cmo el nmero de muertos
aumenta. Sarah Kurchak
JEREMY SAULNIER
Dirigi los largometrajes Murder Party (2007) y Blue Ruin (2013), del
cual adems fue director de fotografa. Tambin desempe ese rol en
otros films, como Septien (Bafici 11) y I Used to Be Darker (Bafici 13).
He directed Murder Party (2007) and Blue Ruin (2013), in which he also
served as cinematographer. He also did for other films like Septien (Bafici
11) and I Used to Be Darker (Bafici 13).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
NOCTURNA
After getting lost in the woods in Oregon, the members of a
punk band will become the only witnesses to a murder perpe-
trated by a scary band of skinheads.
Green Room has a hell of a premise, and Saulnier executes it
beautifully, setting up the scene and then logically and thrillingly
mining it for every possibility. The attention to detail in the way
that the battle between punks and skins plays out is impressive,
as is the verisimilitude. No one gets dumbed down or magi-
cally elevated to heroic status. The characters lightly sketched
backgrounds all play a role in the fight for their survival and an
inspired number of objects lying around the joint get used in a
sort of DIY-meets-MacGyver fashion along the way. All thats left
to do is sit back and bite your nails while you watch the body
count climb. SK
Estados Unidos / Reino Unido - US / UK, 2015
95 / DCP / Color / Ingls - English
D, G: Jeremy Saulnier F: Sean Porter E: Julia Bloch
DA: Ryan Warren Smith S: Roland Vajs M: Brooke Blair,
Will Blair P: Anish Savjani, Neil Kopp, Victor Moyers
PE: Gabriel Hammond, Daniel Hammond, Vincent Savino
CP: WestEnd Films I: Anton Yelchin, Imogen Poots, Patrick Stewart
Contacto / Contact
WestEnd Films. Daphne Karnezis
T +44 20 7494 8300
E intern@westendfilms.com W westendfilms.com
313
LATE NIGHT
JERUZALEM
Dos chicas estadounidenses se van de vacaciones a Israel,
pero, cuando se ven atrapadas en un apocalipsis bblico, de-
bern sobrevivir el tiempo suficiente entre demonios, zombies
y criaturas aladas para encontrar una salida mientras la furia
del infierno se desata sobre ellas.
Hay pelculas que buscan innovar los parmetros del cine de
terror, ahondando en cuestiones temticas y estilsticas. Otras,
ms asumidas en su intencin de lisa y llanamente asustar,
optan por enfocarse en ese arte milenario de poner en vilo, es-
pantar, atemorizar. Con elementos de El proyecto Blair Witch,
[Rec] y El descenso, JeruZalem es un enrgico paseo por un
Apocalipsis inminente al que entramos con el recurso de la c-
mara subjetiva, a travs de los modernos anteojos de una turista
norteamericana. Hay tres portales al Infierno; uno est en la Ciu-
dad Vieja de Jerusaln. Adems de una urgencia, escapar puede
ser una opcin para algunos y una trampa mortal para otros.
La pregunta ms importante: a dnde escapar, cuando lo que
se viene es, literalmente, el Infierno en la Tierra? Pablo Conde
LOS DIRECTORES / THE DIRECTORS
Doron Paz y Yoav Paz: se graduaron de la escuela de cine de Tel Aviv
y, tras aos de dirigir videoclips y publicidades, comenzaron a escribir
programas de televisin en Israel. En 2010 dirigieron su primer largo-
metraje, Phobidilia.
Doron Paz and Yoav Paz: graduated from the Tel Aviv Film School and
directed music videos and commercials for several years before writing
TV shows in Israel. They directed their first film Phobidilia in 2010.
314 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Two American go to Israel on vacations, but when they find
themselves trapped in a biblical apocalypse, they will have
to survive long enough among demons, zombies, and winged
creatures to find a way out while the rage from hell is un-
leashed upon them.
There are films that seek to innovate the parameters of horror
movies, delving into questions of theme and style. Others, more
confident in their intention of plainly and simply being scary,
opt to focus on that millennial art of keeping audiences on the
edge, shocking them, terrifying them. With elements of The Blair
Witch Project, [Rec] and The Descent, JeruZalem is an ener-
getic walk through an imminent Apocalypse to which we enter
with the resource of the point-of-view camera by means of the
modern glasses of an American tourist. There are three gates to
Hell one of them is in the Old City of Jerusalem. Apart from be-
ing an urgency, escaping can be an option for some and a trap
for others. The most important question: where do we escape
when whats coming is, literally, Hell on Earth? PC
Israel, 2015 / 94 / DCP / Color / Ingls - English
D, G, P: Doron Paz, Yoav Paz F: Rotem Yaron E: Reut Hahn, Yoav Paz,
Doron Paz DA: Sharon Eagle S: Yuval Bar-On, Itzik Cohen
M: Yuval Bar-On PE: Patrick Ewald, Shaked Berenson
CP: Epic Pictures Group, Paz Films I: Yale Grobglas, Yon Tumarkin,
Danielle Madelyn, Tom Graziani
Contacto / Contact
Epic Pictures Group. Shaked Berenson
T +1 323 207 4170
E shaked@epic-pictures.com ~ booking@epicpicturesreleasing.com
W epic-pictures.com ~ jeruzalemmovie.com

KARAOKE CRAZIES
Los locos del karaoke
Sung-wook dirige un negocio de karaoke en decadencia y
contrata a Ha-suck, una veinteaera adicta a los videojuegos.
Pero cuando las cosas comienzan a mejorar, se enteran de que
un asesino serial anda suelto en la ciudad.
No hay resumen que pueda hacerle justicia a la segunda pelcula
de Kim Sang-chan, construida alrededor de uno de los pasatiem-
pos favoritos de Corea: el karaoke. Una pelcula cuyo conjunto es
ms que improbable, con personajes inexplicables, rotos y fan-
tasmagricos, pero a la vez luminosos. Kim Sang-chan se toma
el tiempo necesario para desarrollarlos y mostrarnos cmo pasan
sus das y noches. A travs de una puesta climtica y enrarecida,
la pelcula encuentra un tono que puede pasar sin escalas de la
comedia a las imgenes ms sombras. La utilizacin dramtica
del alcohol nos recuerda al cine de Hong Sang-soo: los perso-
najes se sueltan mucho soju mediante y se confiesan, pero
sin dejar de ser criaturas extraas y misteriosas. Bienvenidos al
singular karaoke de Sung-wook. Elena Marina DAquila
KIM SANG-CHAN
Naci en Corea del Sur en 1970, y se gradu de la Universidad de Dong-
guk en 1997. En 2007 codirigi su primer largometraje, Highway Star.
He was born in South Korea in 1970, and graduated form the University
of Dongguk in 1997. In 2007 he co-directed his first film, Highway Star.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
NOCTURNA
Sung-wook runs a karaoke business and hires Ha-suck, a
twenty-year-old girl addicted to videogames. But when
things start to go well, they found out a serial killer is on the
loose in the city.
No summon can fairly describe Kim Sang-chans second film,
which is built around one of Koreas favorite hobbies: karaoke.
A film with a very unlikely content, inexplicable, broken, and
ghostly characters who are yet luminous. Kim Sang-chan takes
the necessary time to develop them and show us how they
spend their days and nights. Through an atmospheric and es-
tranged setting, the film finds a tone that can range from com-
edy straight to darkness. The dramatic use of alcohol reminds
us of Hong Sang-soos films: characters get loose thanks to
soju and confess, and yet remain as strange and mysterious
creatures. Welcome to Sung-wooks unique karaoke. EMDA
Corea del Sur - South Korea, 2016 / 105
DCP / Color / Coreano - Korean
D: Kim Sang-chan G: Park Ji-hong F: Jang U-young E: Moon In-dae
DA: Jin Kyung-hee S: Lee Seung-cheol M: Lee Hyo-jeong
P: Na Hyun-joon PE: Hwang Phil-seon CP: Aram Pictures,
Redhill Pictures I: Lee Moon-sik, Bae So-eun, Kim Na-mi, Bang Jun-ho
Contacto / Contact
9ers Entertainment. Deborah Park
T +82 704 490 4073
E debpark@niners.co.kr
315
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LATE NIGHT
LIKE CATTLE TOWARDS GLOW
Como ganado hacia el resplandor
Cinco escenas independientes, pero temtica y emocionalmen-
te interconectadas, en las que el sexo les proporciona a los per-
sonajes una experiencia tan intensa como intransferible.
Digno sucesor del Marqus de Sade una de sus veladas in-
fluencias, junto a la poesa vanguardista francesa y los films
de Robert Bresson, Dennis Cooper es uno de los escritores
contemporneos ms controvertidos. Sus novelas, usualmen-
te protagonizadas por jovencsimos homosexuales inmersos
en una espiral descendente de drogas, violaciones, incesto y
necrofilia, suelen ser una coleccin de golpes diseados para
impactar al lector, con la alienacin como tema permanente. Ah
estn Contacto, Cacheo y Tentativa (Closer, Frisk y Try), el im-
pactante Ciclo de George Miles, como prueba. Like Cattle
parte de un guion suyo pensado previamente para una pelcula
porno y ahonda en su personal universo: cinco historias con
personajes que se entrecruzan con el sexo confuso, proble-
mtico, explcito como excusa. Una experiencia fuerte, como
la obra de Cooper. Pablo Conde
DENNIS COOPER
Naci en California en 1953. Es novelista y poeta. Dos de sus novelas,
Frisk y Weak Species, fueron adaptadas al cine en 1996 y 2009.
He was born in California in 1953. Hes a novelist and a poet. Two of his
novels, Frisk and Weak Species were adapted to film in 1996 and 2009.
ZAC FARLEY
Trabaja principalmente en cine y fotografa. Estudi en el Instituto de
Artes de California y en la Universidad North Western de Chicago.
He works mainly in film and photography. He studied at the Art Institute in
California and the North Western University in Chicago.
316 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Five independent scenes featuring common topics and emo-
tions, where sex provides the characters with a both intense
and non-transferrable experience.
A worthy successor of the Marquis de Sade one of his veiled
influences, along with French avant-garde poetry and the films of
Robert Bresson, Dennis Cooper is one of the most controversial
contemporary writers. His novels, which usually star very young
homosexual males immersed in a downward spiral of drugs,
rape, incest and necrophilia, tend to be a collection of punches
designed to impact the reader, with alienation as their permanent
subject matter. Theres Closer, Frisk and Try, the striking George
Miles Cycle, as proof. Like Cattle kicks off from a script writ-
ten by himself which was previously thought for a porn movie
and delves deep into his universe: five stories with characters
that cross paths with sex confusing, problematic, explicit as
an excuse. A strong experience, as Coopers work usually is. PC
Alemania / Francia / Estados Unidos / Canad
Germany / France / US / Canada, 2015 / 94
DCP / Color / Ingls / Francs - English / French
D,E: Dennis Cooper, Zac Farley G: Dennis Cooper DA: Emilie Jouvet
S: Mikal Barre P: Jrgen Brning, Maren Kroymann, Dennis Cooper,
Zac Farley CP: Jrgen Brning Filmproduktion, Raspberry & Cream
I: Nicolas Hau, Gabriel Norman,E. D. Yang, Joris Monnier, O. B. De Alessi
Contacto / Contact
M-appeal. Torsten Schulze
T +49 30 6150 7505
E films@m-appeal.com W m-appeal.com

SEARCHING FOR MERITXELL
Buscando a Meritxell
Junto a su fiel escudero, un Quijote contemporneo busca
perdidamente a su Dulcinea desaparecida, en un inslito e hi-
larante debut en el que se cruzan canibalismo, sexo e internet.
Meritxell, Meritxell En busca de ese nombre msico, peregri-
no y significativo, que lo llama como un canto de sirena o un to-
que de Facebook, sale a la aventura el quijotesco Juan. Al igual
que el hroe de Cervantes, nunca llegar a ver el rostro de su
Dulcinea virtual; en cambio, va a conocer la cara ms absurda,
incmoda y aberrante de Barcelona. La ciudad que los Burnin
Percebes le hacen recorrer al casi siempre imperturbable Juan
es un ocano de soledades y equvocos, de obsesiones y per-
versiones que solo puede atravesarse (mal) acompaado por
alguna cita de Internet. Puede que no haya molinos de viento,
pero hay peligros mayores que acechan en las calles del barrio
de Horta y sorpresas desagradables (bueno, segn para quin)
al otro lado de un vulgar agujero en la pared. Agustn Masaedo
BURNIN PERCEBES
Ms conocidos por su seudnimo, los catalanes Juan Gonzlez y Fernan-
do Martnez crearon la serie web animada Ventura Time (2013).
Better known for their pseudonym, Juan Gonzlez and Fernando Martnez
created the animated web series Ventura Time (2013).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE INTERNACIONAL / INTERNATIONAL PREMIERE
NOCTURNA
Together with his faithful squire, a contemporary Quixote des-
perately seeks his vanished Dulcinea, in a crazy and hilarious
debut film that mixtures cannibalism, sex, and the internet.
Meritxell, Meritxell Juan goes out in Don Quixote-like adven-
ture to find that musical, pilgrim-like and meaningful name, which
calls him like a mermaid song, or a Facebook poke. Just like
Cervantes hero, he will never get to see the face of his virtual
Dulcinea. Instead of that, he will meet the most absurd, uncom-
fortable and horrible face of Barcelona. The Burnin Percebes
drive the almost constantly composed Juan around a city that is
an ocean of loneliness and misunderstandings, obsessions and
perversions that can only be endured if youre accompanied by a
date you got from the Internet. Although windmills may be lack-
ing here, there are some major dangers lurking in the streets of
the Horta neighborhood, as well as disgusting surprises (well, for
some at least) on the other side of a vulgar hole in the wall. AM
Espaa - Spain, 2015 / 50 / DM / Color
Espaol - Spanish
D, G, F, E, P, PE, CP: Burnin Percebes DA: Guille Fernndez
S: Roberto Romn M: Esteban Navarro I: Juan Gonzlez, Paula Rib,
David Pareja, Xavier Daura, Miguel Noguera
Contacto / Contact
Burnin Percebes. Juan Gonzlez Gutirrez
T +34 610 533 842
E burninpercebes@gmail.com
W facebook.com/searchingformeritxell
317
LATE NIGHT
SPL: KILL ZONE
Saat po long
SPL: Zona mortal
Un detective a punto de retirarse utiliza mtodos poco orto-
doxos con tal de capturar a Wong Po, el lder de una organi-
zacin criminal.
El prolfico director Wilson Yip filma a la antigua esta historia de
policas que persiguen al despiadado y aparentemente imposi-
ble de atrapar Po. Visto por primera vez en 1994 preparando
la ejecucin del abogado y la familia de una de sus vctimas
desde su celda, Po logra salir impune. Es la nmesis del polica
Chan, quien, luego de tres aos de intentar atrapar a Po sin
xito, se entera de que tiene cncer y debe retirarse de la fuer-
za. Espectacular y fornido empujn para revivir las pelculas de
pias de Hong Kong en un thriller policial, SPL es un festival de
golpes que har babear a los fanticos. Si bien los elementos de
policial remiten a las primeras pelculas de John Woo, el plato
principal son las escenas de accin que nos entregan la leyenda
Sammo Hung y la nueva estrella Wu Jing como, respectivamen-
te, un jefe mafioso y su secuaz. Robert Koehler
WILSON YIP
Naci en Hong Kong en 1963. En 1998 coescribi y dirigi la pelcula de
culto Bio Zombie. Entre sus films se destacan The White Dragon (2004)
y la triloga de Ip Man (2008-2015).
He was born in Hong Kong in 1963. In 1998 he co-wrote and directed
the cult film Bio Zombie. The White Dragon (2004) and the Ip Man trilogy
(2008-2015) are some of his films.
318 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A retiring detective uses unorthodox methods in order to cap-
ture Wong Po, the leader of a criminal organization.
Busy director Wilson Yip applies an old-school approach to
this tale of police going after the ruthless and seemingly un-
catchable Po. First seen in 1994 arranging the execution of the
prosecuting attorney and family of one of his victims from his
jail cell, Po gets away scot-free. Hes the nemesis of copper
Chan, who learns after three years of futilely trying to nab Po
that he has cancer and must retire from the police force. A ter-
rific, brawny push to revive Hong Kong hand-to-hand fighting in
a police thriller, SPL is an all-star smackdown that will get fans
salivating. Although the police elements are drawn with nods to
early John Woo, the main event is the action delivered by legend
Sammo Hung and new star Wu Jing as crime lord and hench-
man, respectively. RK
Hong Kong / Macao - Hong Kong / Macau, 2005
97 / DCP / Color / Cantons / Mandarn - Cantonese / Mandarin
D: Wilson Yip G: Wilson Yip, Szeto Kam-Yuen, Ng Wai Lun
F: Lam Yah Chuen E: Cheung Ka Fai DA: Kenneth Mak
S: Kinson Tsang M: Chan Kwong-wing P: Carl Chang
PE: Tat Chi Chan, Paco Wong CP: 1618 Action Limited,
Greek Mithology Entertainment Company I: Donnie Yen,
Simon Yam, Sammo Hung, Wu Jing, Liu Kai-chi
Contacto / Contact
Arclight Films. Jesica Andres
T +1 310 777 8855 E jesica@arclightfilms.com W arclightfilms.com

SPL 2 - A TIME FOR CONSEQUENCES
Saat po long 2
SPL 2: Tiempo de consecuencias
Kit es un polica encubierto que persigue a un importante ma-
fioso, pero cuando su misin sale mal termina preso en un
una crcel tailandesa. All conoce a un guardia dispuesto a
ayudarlo a escapar para poder desbaratar a la banda criminal,
a cambio de que salve a su hija, vctima de leucemia.
Por si no bastase con El padrino, Terminator o Star Wars para
convencerse de que segundas partes siempre fueron buenas,
llegan nuevas evidencias desde un Extremo Oriente mejor repre-
sentado y ms extremo que nunca en este Bafici. Sin relacin con
la original de aqu al lado ms que en su vocacin por el desma-
dre y su corazoncito noir, SPL 2 sale de paseo por los gneros
populares hongkoneses (el cine de artes marciales, pero tambin
el policial, la comedia tontuela y el melodrama lacrimgeno) mu-
nido de ingenio y absurdo inagotables. Con Tony Jaa y Wu Jing en
el plantel, las peleas son podrn imaginarlo muchas, eufricas
y generosas en vidrios y huesos rotos; pero, entre tanto hroe de
accin, sobresale un villano letal que emplea unos mini-cuchillos
con maxi-creatividad. Agustn Masaedo
SOI CHEANG
Naci en Hong Kong, y dirigi numerosos largometrajes, entre los que se
encuentran The Death Curse (2003), Shamo (2007) y The Monkey King
(2014). Tambin trabaja como asistente de direccin, guionista y actor.
He was born in Hong Kong, and directed several films, including The
Death Curse (2003), Shamo (2007) and The Monkey King (2014). He also
works as an assistant director, scriptwriter and actor.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
NOCTURNA
Kit is an undercover cop chasing a top mob chief, but his mis-
sion goes wrong, and he ends up in a Thai prison. There, he
meets a guard who is willing to help him escape so he can take
down the gang, in exchange for saving the mans daughter,
who suffers from leukemia.
As if it werent enough with The Godfather, Terminator or Star
Wars to convince us that second installments have always been
good, new evidence arrives from a Far East better represented
and more extreme than ever in this Bafici. With no relation to the
original other than its tendency to go wild and its little noir heart,
SPL 2 goes out for a stroll through Hong Kongs popular genres
(martial arts cinema, but also police procedural, silly comedy
and tear-jerking melodrama) with an endless supply of inven-
tiveness and absurdity. With Tony Jaa and Wu Jing on the team,
the fights are you can imagine many, euphoric and generous
when it comes to broken glass and bones; but among so many
action heroes, a lethal villain stands out with his mini-knives
used with maxi-creativity. AM
China / Hong Kong, 2015 / 120 / DCP / Color
Mandarn / Cantons / Tailands / Ingls
Mandarin / Cantonese / Thai / English
D: Soi Cheang G: Jill Lai Yin Leung, Wong Ying F: Tse Chung-to
E: David Richardson M: Kwong Wing-chan, Ken Chan
P: Yip Wai-shun, Paco Wong PE: Alvin Chau, Alex Dong, Chen Yi-qi,
Yu Dong, Andrew Chu CP: Sun Entertainment Culture
I: Tony Jaa, Wu Jing, Simon Yam, Zhang Jin, Louis Koo
Contacto / Contact
Bravos Pictures. Queenie Li T +852 2156 1326
E queenie.li@bravospictures.com W bravospictures.com
319
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LATE NIGHT
THE INERASABLE
Zange: Sunde wa ikenai heya
Lo imborrable
Una escritora de novelas de misterio recibe la carta de una lec-
tora y estudiante universitaria que dice escuchar ruidos extra-
os en su habitacin. La novelista decide ayudarla a descubrir
la trgica historia de la gente que viva en su departamento.
Cmo hacer para sorprender con el terror japons de fantas-
mas luego de la invasin de originales y remakes de principios
del siglo XXI? Con ms terror, ms fantasmas, partiendo de
la incredulidad y sumndole una trama de investigacin. The
Inerasable es una de fantasmas que se multiplican porque de-
jan rastros en el tiempo, porque no se pueden borrar. Una inge-
niosa idea de palimpsesto tenebroso urbano llevada a cabo con
tremenda eficacia por el experimentado en el gnero Yoshihiro
Nakamura, que va descubriendo capas y capas fantasmagri-
cas con inteligencia para dosificar, ocultar y asustar y mucho
con la simplicidad de volver a las fuentes y hacernos temer el
contracampo. Javier Porta Fouz
YOSHIHIRO NAKAMURA
Naci en Japn en 1970, y estudi literatura y arte. En 1999 hizo su
debut como director con Local News, a la que le siguieron una veintena
de largometrajes.
He was born in Japan in 1970, and studied literature and art. In 1999
he debuted as a filmmaker with Local News, which was followed by over
a dozen films.
320 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A writer of mystery novels gets a letter from a reader and col-
lege student who claims to hear strange noises in her room.
The novelist decides to help her find out about the history of
the people who used to live in her apartment.
How does one shock with Japanese ghost horror after the inva-
sion of original version and remakes during the early 2000s?
With more horror, more ghosts, starting off from skepticism
and adding an investigative plot. The Inerasable is a film about
ghosts that multiply because they leave traces in time, because
they cannot be erased. An ingenious idea of gloomy urban pa-
limpsest carried out with tremendous efficiency by genre expert
Yoshihiro Nakamura, who discovers ghostly layers upon ghostly
layers with enough intelligence to measure out, hide and scare
a lot with the simplicity of returning to the roots and making
us scared of the countershot. JPF
Japn - Japan, 2015 / 107 / DM / Color / Japons - Japanese
D: Yoshihiro Nakamura G: Kenichi Suzuki F: Yukihiro Okimura
DA: Tomoyuki Maruo M: Goro Yasukawa P: Yoshihiro Nakamura,
Fumitsugu Ikeda CP: Happinet Corporation I: Yuko Takeuchi,
Ai Hashimoto, Kentaro Sakaguchi, Kenichi Takito, Kuranosuke Sasaki
Contacto / Contact
Shochiku. Kiwamu Sato
T +81 355 501 623
E azusa_taki@shochiku.co.jp
W shochikufilms.com ~ zang-e.jp

THE KING OF THE STREETS
El rey de las calles
Ocho aos despus de haber sido condenado a prisin por la
muerte accidental de un oponente en una pelea callejera, Yue
Feng busca una nueva vida de paz y plenitud. Pero la tran-
quilidad no durar demasiado. Se proyecta con Snow Warrior.
Estaremos todos de acuerdo en que ni Roma ni las superestre-
llas de artes marciales se construyen en un solo da. Pero a ver
quin se anima a decrselo en la cara a Yue Song, que lleva ape-
nas dos pelculas tallando su propio mito a puo limpio contra el
mrmol y ya quiere convencernos de que la estatua pertenece
a la galera de los prceres. En una escena de The King of the
Streets, un personaje que an no lo conoce se burla de otro que
lamentablemente s: Pero quin es este tipo? Bruce Lee?. than Bruce Lee! Whether or not he has reasons spoiler: he
No, es mejor que Bruce Lee!. Tenga razones o no spoiler:
las tiene para esa arrogancia correccin: carisma, hace rato
que no se vea tanta pasin, conviccin e imaginacin en el
cine de pias/patadas/saltos como las de Yue. En eso tambin
estaremos todos de acuerdo. Agustn Masaedo
PREMIERE LATINOAMERICANA / LATAM PREMIERE
SNOW WARRIOR
Guerrero de la nieve
China, 2013 / 40 / DM / Color / Mandarn - Mandarin
D, P, I: Yue Song CP: Beijing Yue Song Film and Culture
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
NOCTURNA
Eight years after being sentenced to prison for the accidental
death of someone he fought with on the street, Yue Feng is seek-
ing a new life of peace and happiness. But the quietness wont
last too much. It will be screened together with Snow Warrior.
We will all agree that neither Rome nor martial arts superstars
are built in a day. But tell that to Yue Song, who has been sculpt-
ing his own myth for only two movies with his fists against the
marble and already wants to convince us that the statue belongs
to the gallery of heroes. In a scene from The King of the Streets,
a character that hasnt yet met him mocks someone who, unfor-
tunately, has: But who is this guy? Bruce Lee? No, hes better
does for that arrogance correction: charisma, its been long
since we last saw as much passion, conviction and imagination
in action movies as we do in Yues. We will also agree on that. AM
90 / DCP / Color / Mandarn - Mandarin / China, 2012
D: Yue Song, Zhong Lei G: Yue Song, Shen Cheng
F: Liu Zhangmu, Li You E: Zhao Gaowei, Yue Song
DA: Rebecca Lee S: Wu Yujie M: Jin Dapeng P: Yue Song,
Patrick Kong CP: Beijing Yue Song Film and Culture I: Yue Song,
Li Yu Fei, Kang En, Yang Jian Ping, Yang Jun Pin
Contacto / Contact
All Rights Entertainment. Pearl Chan
T +852 2388 6007
E pc@allrightsentertainment.com W allrightsentertainment.com
321
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LATE NIGHT
THE MISSING GIRL
La chica perdida
Mort pasa sus das rodeado de figuras de accin colecciona-
bles dentro de su local de cmics, y por las noches fantasea
con Ellen, su nueva empleada y aspirante a novelista grfica.
Cuando ella comienza a faltar al trabajo, la preocupacin y la
paranoia de Mort se intensifican.
El pueblo chico de The Missing Girl luce artificial. Tambin las
acciones de los personajes. Dudamos de qu es lo que hacen,
de cules son sus intenciones. Ni ellos mismos parecen sa-
berlo del todo. Esta es una de esas pelculas que descansan
en la idea de cine como juego mientras narran con precisin y
constancia. Un juego armado mediante el misterio (o la comedia
del misterio), y mediante interrogantes antes que truculencias
o terrores. Estn los elementos dispuestos: el freak del negocio
de historietas y elementos pop, el ex compaero de colegio des-
agradable y la chica cool que parece ser la ideal porque dibuja
novelas grficas. Sabemos que el mundo de The Missing Girl
luce, en realidad, como un cmic de aventuras cotidianas, uno
que existe en un mundo para el que Ghost World es un punto de
referencia ineludible. Javier Porta Fouz
A. D. CALVO
Naci en Buenos Aires en 1967. En 1974 se mud a Estados Unidos.
Dirigi varios largometrajes, entre ellos Cmara de polvo (2012) y El
juego de medianoche (2013).
He was born in Buenos Aires in 1967. In 1974 he moved to the US. He
directed several feature-length films, including Cmara de polvo (2012)
and El juego de medianoche (2013).
322 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Mort spends his days surrounded by collectible action figures
in his comic book shop, and his nights fantasizing about El-
len, his new employee and aspiring graphic novelist. When she
starts not showing up at work, Morts concerns and paranoia
become more intense.
The small town featured in The Missing Girl looks artificial,
and the actions of the characters do too. Were not sure what
they are doing, or what their intentions are. They themselves
dont seem to know for sure. This is the kind of film that
rests on the notion of cinema as a game, while telling a story
with precision and determination. Its a kind of game that
involves mystery (or the comedy of mystery), through ques-
tions rather than horror or truculence. The elements are all
set: the freak guy from the comic books and pop items shop,
the nasty former high school mate, and the cool girl who
seems to be the one, because she writes graphic novels. We
know the world of The Missing Girl actually looks like an ev-
eryday adventures comic book, one that exists in a universe
in which Ghost World is an inevitable reference. JPF
Estados Unidos - US, 2015 / 89 / DCP / Color
Ingls - English
D, G: A. D. Calvo F: Ava Berkofsky E: Michael Taylor DA: Meredith
Lippincott S, M: Joe Carrano P: Mike S. Ryan CP: Budderfly
Productions, Greyshack Films, Goodnight Film I: Robert Longstreet,
Alexia Rasmussen, Eric Ladin, Thomas Jay Ryan, Shirley Knight
Contacto / Contact
Instrum International. Ryan Keller
T +1 216 702 8815
E ryan@instruminternational.com
W instruminternational.com ~ themissinggirlmovie.com

THE VIRGIN PSYCHICS
Eiga minna! Esper dayo!
Las vrgenes psquicas
Yoshiro es un perdedor. La nica luz en su vida es la bella Sae,
aunque ella no lo registra. Un da el muchacho descubre que
tiene poderes psquicos, al igual que otras mujeres con algo en
comn: todas ellas son vrgenes!
La idea de encontrar a tu amor verdadero en una instancia pre-
natal le da a The Virgin Psychics un rasgo romntico, incluso
conservador, que termina convirtindose en el arma secreta de
Sono. Se hablar sucio, pero los actos sexuales en pantalla, y ni
hablar de los desnudos, son contados, y la lascivia de la pelcula
comienza a parecerse, sorprendentemente, a una forma de ino-
cencia. Fetichismo de colegialas japonesas, escotes sudorosos,
juguetes sexuales que levitan y gags sobre erecciones que te
pegan en la cara: The Virgin Psychics tiene una mente podrida
que no pide disculpas, salvo en aquellas ocasiones en que di-
rectamente pareciera no tener mente. Justin Chang
SONO SION
Naci en 1961 en Toyokawa, Japn, y a los 17 ya era un poeta editado
y reconocido. Dirigi los largos Suicide Club (Bafici 03), Norikos Dinner
Table y Strange Circus (ambos Bafici 06), Love Exposure (Bafici 09) y
Why Dont You Play in Hell? (Bafici 14), entre otros.
He was born in 1961 in Toyokawa, Japan, and at 17, he was already
a published and acknowledged poet. He directed the features Suicide
Club (Bafici 03), Norikos Dinner Table and Strange Circus (both
Bafici 06), Love Exposure (Bafici 09), and Why Dont You Play in
Hell? (Bafici 14), amongothers.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
NOCTURNA
Yoshiro is a loser. The only light in his life is the beautiful Sae,
even though she doesnt know he exists. One day, the boy dis-
covers he has psychic powers like many other women with
something in common: theyre all virgins!
The idea of finding your one true love at the prenatal stage lends
The Virgin Psychics a romantic, even conservative streak that
increasingly reveals itself as Sonos secret weapon. The talk
may be dirty, but actual onscreen sex acts, let alone nudity,
are few and far between, and the movies prurience begins to
feel, remarkably, like a kind of innocence. Japanese schoolgirl
fetishism, perspiring cleavage, levitating sex toys and slap-you-
in-the-face erection gags: The Virgin Psychics has an unapolo-
getically dirty mind, except on those occasions when it seems to
have no mind at all. JCH
Japn - Japan, 2015 / 114
DCP / Color / Japons - Japanese
D: Sono Sion G: Shinichi Tanaka F: Hajime Kanda E: Junichi Ito
DA: Takashi Matsuzuka S: Hajime Komiya M: Tomohide Harada
P: Tsuyoshi Matsushita, Kentaro Takada, Takeshi Moriya, Hrishi Muto
PE: Satomi Odake, Ippei Fukuda, Yutaka Ishikawa CP: The Virgin
Psychics Film Partners I: Shota Sometani, Elaiza Ikeda, Erina Mano
Contacto / Contact
GAGA Corporation. Yuki Oguriyama
T +81 357 867 135 E intlsales@gaga.co.jp
W gaga.co.jp ~ esper-movie.gaga.ne.jp
323
PREMIERE AMERICANA / AMERICAN PREMIERE
LATE NIGHT
WHEN GEEK MEETS SERIAL KILLER
Cuando un geek conoce a un asesino serial
Un dibujante mata accidentalmente a su mejor amigo y en-
cuentra una forma creativa de deshacerse del cuerpo. Al poco
tiempo, descubre que aquel estaba vindose con su novia y
llama, sin querer, la atencin de un asesino serial.
Esto nos recuerda lo que alguna vez fue una porcin impor-
tante del cine asitico. La pelcula hace gala de una vitalidad
desaforada desde el minuto uno, mediante una secuencia de
ttulos que resulta ser, con toda probabilidad, la ms colorida y
emocionalmente querible en mucho tiempo. Si es cierto que el
ttulo de esta perfecta gema pop que mezcla gneros con una
asombrosa naturalidad parece decirlo todo, nada nos prepara
para la comicidad insensata, la hiprbole constante y la ligere-
za casi musical con la que se suceden los estallidos gore, los
cambios de ritmo y la sensacin sutilmente engaosa de que se
est inventando algo nuevo en cada escena. La desfachatez de
esta pelcula es el antdoto ideal para la solemnidad de un cine
en el que la emocin se inscribe como tributo necesario a los
sentimientos sublimes. David Obarrio
REMUS MOK
Actor y cantante malayo. When Geek Meets Serial Killer es su primer
largometraje como director.
A Malay actor and singer. When Geek Meets Serial Killer is his first
feature as a director.
ERIC CHEUNG
Es artista de cmics. Escribi Wolf & Mary, el cmic en el que est basa-
da When Geek Meets Serial Killer.
Hes a comic book artist. He wrote Wolf & Mary, the comic in which When
Geek Meets Serial Killer is based.
324 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A cartoon artist accidentally kills his best friend and finds a
creative way of getting rid of the body. Soon after, he discovers
his friend was seeing his girlfriend and unintentionally grabs
the attention of a serial killer.
This reminds us of what a portion of Asian cinema used to
be. The film shows off a wild vitality from its very first minutes
through an opening credits sequence that probably turns out to
be the most colorful and emotionally adorable in a long time.
Although certainly the title of this perfect pop gem that mixes
genres with amazing skills apparently says it all, nothing pre-
pares us for this insane humor, constant hyperbole, and the al-
most musical lightness through which we see outbursts of gore,
changes in rhythm, and a subtly deceitful feeling that the film is
inventing something new in every scene. The brazenness of this
film is an ideal antidote for the solemn cinema in which emotion
works as a mandatory tribute to sublime feelings. DO
Malasia / Taiwn - Malaysia /Taiwan, 2015 / 94 / DCP / Color
Mandarn / Taiwans - Mandarin / Taiwanese
D: Remus Mok, Eric Cheung G: Wang You-zhen F: Zhu Jing-wei
E: Kenny Chua, Kuang Eng DA: Lin Zhong-xian S: Huang Xian-zhe
M: Twinko P: Jack Lee CP: SKT Media and Entertainment
I: Ray Chang, Shiga Lin, JC Chee, Vincent Wong, Zhao Xiao-long
Contacto / Contact
All Rights Entertainment. Pearl Chan
T +852 2388 6007
E allrightshk@gmail.com
W allrightsentertainment.com
LUGARES
PLACES
PLACES
AQUI, EM LISBOA:
EPISDIOS DA VIDA DA CIDADE
Here in Lisbon - Episodes of a City
Aqu, en Lisboa: Episodios de la vida en la ciudad
Despus de diez aos de exhibir pelculas, el IndieLisboa
decide producir una, y para eso invita a cuatro directores a
filmar en la capital portuguesa. El resultado es una perfecta
combinacin de gneros y estilos para el retrato de una ciudad
a travs de las miradas de los cuatro cineastas convocados.
Los festivales de cine no solo se dedican a mostrar pelculas;
en el caso de IndieLisboa, tambin se ha lanzado a producirlas:
a propsito de su dcimo aniversario, el festival invit a cuatro
realizadores, Dominga Sotomayor (Chile), Marie Losier (Francia),
Denis Ct (Canad) y Gabriel Abrantes (Portugal), a filmar en
la ciudad de Lisboa de manera totalmente libre. El resultado de
esos trabajos, por separado y en su conjunto, es realmente sor-
prendente. Los directores, cada uno con su propuesta, arrojan
una visin muy distinta de la ciudad, y lo interesante es que lo
hacen pasando por registros totalmente diversos. Aquello que
se destaca y que esta serie de trabajos tiene como denomi-
nador comn es la libertad creativa, lo cual resulta esencial y
valorable teniendo en cuenta que se trata de una iniciativa que
tiene en su origen la celebracin del cine. Violeta Bava
LOS DIRECTORES / THE DIRECTORS
Denis Ct: Realiz Les tats nordiques (2005; Bafici 06), Curling y
Bestiaire (2012, Bafici 12), entre otros. Gabriel Abrantes: Dirigi el
largometraje Palaces of Pity (2011; Bafici 12). Marie Losier: Realiz
varios cortometrajes, exhibidos en el foco que le dedic el Bafici en 2010.
Dominga Sotomayor: Dirigi los largometrajes De jueves a domingo
(Bafici 12) y Mar (2014; Bafici 15).
Denis Ct: He directed Les tats nordiques (2005; Bafici 06), Curling
and Bestiaire (2012, Bafici 12), among other films. Gabriel Abrantes:
He directed Palaces of Pity (2011; Bafici 12). Marie Losier: She direct-
ed several short films that were screened in the Focus Bafici held on her
work in 2010. Dominga Sotomayor: She directed Thursday Til Sunday
(Bafici 12) and Mar (2014; Bafici 15).
326 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
After a decade of screening films, IndieLisboa decides to pro-
duce one, and invites four filmmakers to shoot in the Portu-
guese capital. The result is a perfect combination of genres
and styles in this eclectic city portrait through the eyes of the
four directors.
Film festivals dont just screen films; IndieLisboa, for example,
has also started producing them. For its 10th anniversary, the
festival invited four filmmakers Dominga Sotomayor (Chile),
Marie Losier (France), Denis Ct (Canada) and Gabriel Abran-
tes (Portugal) to shoot in Lisbon with no strings attached. The
resulting works are really surprising. In their films, each one of
them presents a very different vision of the city, and the inter-
esting thing is that they do it through totally different tones. If
theres one common denominator that emerges from this series
of works is creative freedom, which is essential and remarkable
considering that its an initiative that was born out of a celebra-
tion of cinema. VB
Portugal / Canad / Chile / Francia / Suiza - Portugal / Canada /
Chile / France / Switzerland, 2015 / 90 / DCP / Color / Portugus /
Ingls / Italiano / Espaol - Portuguese / English / Italian / Spanish
D, G: Gabriel Abrantes, Denis Ct, Marie Losier, Dominga Sotomayor
F: Andr Santos, Diogo Costa Amarante, Jorge Quintela, Rui Xavier
E: Gabriel Abrantes, Catherine Libert, Marie Losier, Nicolas Roy,
Dominga Sotomayor S: Marco Leo, Rafael Cardoso, Miguel Cabral
P: Miguel Valverde CP: IndieLisboa I: Francisca Castillo, Joo Canijo,
Carloto Cotta, Cludia Leal, Martinho de Jesus
Contacto / Contact
Portugal Film. Gonalo Mata
T +351 213 466 172
E portugalfilm@indielisboa.com W portugalfilm.org

BELLA E PERDUTA
Lost and Beautiful
Bella y perdida
Un sirviente se embarca en un viaje que lo lleva desde el Monte
Vesubio a la actual Campania para honrar los ltimos deseos
del pastor Tommaso. Su misin ser la de salvar a un joven
bfalo que se encuentra en el antiguo palacio real de Carditello.
Bella e perduta arranca con una subjetiva enrarecida por su
textura visual. La subjetiva es de un hermoso bfalo. Posterior-
mente, un plano medio sobre un cuadro con seres enmascara-
dos remite a una representacin teatral caracterstica del siglo
XVIII. Quines son estos hombres? Uno de los personajes es
Pulcinella, asociado a la commedia dellarte. En un ministerio
sin nombre se pide un permiso enigmtico: otorgarle al bfalo
llamado Sarchiapone el don del habla. Hay un tercer persona-
je fundamental: Tomasso Cestrone, un hombre que alguna vez
decidi cuidar un palacio abandonado, sinnimo de un tiempo
esplendoroso de Italia que es hoy una memoria enterrada. Estos
elementos simblicos se ponen en juego y funcionan como una
alegora de la Cada y, a su vez, articulan una discreta rabia sin
direccin frente a la indolencia de los poderosos de la Italia
contempornea. Roger Koza
PIETRO MARCELLO
Naci en Italia en 1976, y debut detrs de las cmaras con los cortos
Carta y Scampia, en 2003. Entre sus largometrajes se encuentran La
bocca del lupo (2009; Bafici 10).
He was born in Italy in 1976, and debuted behind the cameras with the
short films Carta and Scampia, in 2003. He also directed La bocca del
lupo (2009; Bafici 10).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
LUGARES
A servant embarks on a journey that takes him from Mount
Vesuvius to the actual Campania to honor the last wishes of
pastor Tommaso. His mission is to save a young buffalo in the
ancient royal palace of Carditelo.
Lost and Beautiful begins with a POV shot with an estranged
visual texture. The shot shows a beautiful buffalo. Later, a mid-
range shot on a painting that features masked people echoes a
typical 18th century stage play. Who are these men? One of the
characters is called Pulcinella, and its related to the commedia
dellarte. In a ministry with no name, an enigmatic permission
is requested: to give the buffalo called Sarchiapone the gift of
speech. Theres a third fundamental character: Tomasso Ces-
trone, a man who once decided to take care of an abandoned
palace, a synonym of a splendorous time in Italy that is now
a buried memory. These symbolic elements are at stake and
working as an allegory of the Original sin, while also articulat-
ing a discreet and aimless rage against the indifference of the
powerful in contemporary Italy. RK
Italia - Italy, 2015 / 87 / DCP / Color & B&N
Italiano - Italian
D: Pietro Marcello G: Maurizio Braucci, Pietro Marcello
F: Pietro Marcello, Salvatore Landi E: Sara Fgaier S: Riccardo Spagnol
CP: Avventurosa I: Sergio Vitolo, Gesuino Pittalis, Tommaso Cestrone
Contacto / Contact
The Match Factory. Sergi Steegmann
E sergi.steegmann@matchfactory.de
W the-match-factory.com
327
PLACES
LOS DIARIOS DE FF
The diaries of FF
DIARIO DE UN CORTO
Diary of a Short
DAS DE LLUVIA
Rainy Days
Desde los rincones de la vida diaria, los espacios cotidianos e
incluso sus mascotas, la realizadora recorre aquello que rodea
su hogar en San Clemente del Tuy como si estuviese mos-
trando un diario ntimo visual.
Las cartas de amor se empiezan sin saber lo que se va a de-
cir y se terminan sin saber lo que se ha dicho, dijo una vez
Jean-Jacques Rousseau. Las pelculas de Flavia de la Fuente
son cartas de amor a la naturaleza que rodea a su hogar en
San Clemente del Tuy. Pero su hogar no son solamente las
paredes que la resguardan de los truenos y el granizo; tambin
lo es el cine: el lenguaje que tiene la capacidad de tomar forma
de refugio. En Diario de un corto y Das de lluvia, la fotgrafa y
cineasta escribe un diario ntimo visual en el que la fragilidad
y la nostalgia se fusionan en las gotas que se posan sobre las
ventanas empaadas de su casa. Mientras las flores se marchi-
tan, Flavia intenta reflejar los pensamientos nublados de una de
sus tres perras, Solita. No existe un sobre que pueda contener
una carta de amor tan grande. Maia Debowicz (Catlogo 30
Festival de Mar del Plata)
FLAVIA DE LA FUENTE
Naci en Buenos Aires; en 1991 cofund la revista El Amante y la codiri-
gi hasta 2004. Entre 2001 y 2004 fue programadora del Bafici. Aficio-
nada a la fotografa, hace algunos aos comenz a filmar pelculas con
su pequea cmara, como Escenas en el mar (2012), El paseo (2014;
Bafici 15) y el largo 15 das en la playa (2013).
She was born in Buenos Aires, co-founded El Amante magazine in 1991
and co-directed it until 2004. Between 2001 and 2004, she was a
programmer at Bafici. A photography enthusiast, a few years ago she
started shooting films with her small camera, such as Scenes at the
Sea (2012), The Walk (2014; Bafici 15) and the feature 15 Days at the
Beach (2013).
328 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
From the corners of daily life, everyday spaces and even her
pets as though she were displaying a visual journal-, the
filmmaker walks through what surrounds her home in San
Clemente del Tuy.
Love letters get started without knowing what you are going to
say, and get finished without knowing what youve said, said
Jean-Jacques Rousseau once. Flavia de la Fuentes films are
love letters to the natural landscape that surrounds her home in
San Clemente del Tuy. Yet her home isnt limited to the walls
that shelter her from the thunders and the hail its also cinema,
a language that has the ability to take the form of a shelter. In Di-
ary of a Short Film and Rainy Days, photographer and filmmaker
writes an intimate visual journal where fragility and nostalgia
blur together with the drops falling from the steamed windows
of her house. While the flowers wither, Flavia tries to express the
blurred thoughts of one of her three dogs, Solita. There is no
envelope big enough for this huge love letter. MD (30 th Festival
de Mar del Plata Catalogue)
Argentina / Chile, 2015 / 18 / DCP / Color / Espaol - Spanish
D, G, F, E: Flavia de la Fuente P: Quintn (Eduardo Antn) CP: Solita Films
Argentina, 2015 / 45 / DCP / Color / Espaol - Spanish
D, G, F, E: Flavia de la Fuente P: Quintn (Eduardo Antn) CP: Solita Films
Contacto / Contact
Solita Films. Quintn
T +54 9 11 4024 8703
E quinfla@fibertel.com.ar ~ flaviadelafu@gmail.com
W facebebook.com/flavia.delafuente

EN MODO SILENCIO
On Silent Mode
El escenario de una Asturias post industrial es tambin un
pramo emocional en el que un minero pre jubilado y ludpata
vive huyendo de los acreedores. Perseguido por un despia-
dado polica, deber cumplir con un siniestro encargo que
marcar un antes y un despus en su vida.
En modo silencio presenta una historia coral a partir de los
dilogos que los personajes mantienen entre ellos por su tel-
fono celular; cada escena dura lo mismo que la conversacin, y
entre una llamada y otra se producen elipsis que terminan gen-
erando una narracin fragmentada, como en mosaico, donde
la falta de informacin deja ver cada vez con ms evidencia
los signos del thriller. La directora da con una forma flmica
nueva, una especie de relectura contempornea de la novela
epistolar, hasta que en su segunda mitad la pelcula abandona
ese riguroso dispositivo inicial y la trama vuelve a empezar para
reponer momentos significativos. La llegada de la noche y un
blanco y negro contrastado sellan el desenlace terrible que los
protagonistas (y el espectador) no prevean en la primera parte.
Diego Mat
TERESA MARCOS
Estudi ciencias de la informacin en la Universidad Autnoma de Barce-
lona, produccin de cine y TV en la Universidad de Sussex y complet
su formacin en el estudio Lighthouse Film and Video en Brighton. Entre
sus trabajos se encuentran Se paga el acto (1994), Lencera de ocasin
(1999), El simulador (2009) y Mdulo 10 (2010).
She studied information sciences at the Autonomous University of Barce-
lona, film and TV production in Sussex, and completed her training at the
Lighthouse Film and Video studio in Brighton. Se paga el acto (1994),
Bargain Lingerie (1999), El simulador (2009) y Mdulo 10 (2010) are
some of her works.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
LUGARES
The setting of post-industrial Asturias is also an emotional
desert in which a pre-retired miner with a gambling problem is
constantly avoiding creditors. Chased by a ruthless police of-
ficer, he will be forced to run a sinister errand that will change
his life.
On Silent Mode features a choral storyline based on its char-
acters cellphone conversations, with ellipsis between every
call that create a fragmented, mosaic-like narration where the
lack of information reveals progressively clear sings that were
watching a thriller. The director finds a new cinematographic
form, a kind of contemporary reinterpretation of the epistolary
novel, and then the second half of the film abandons that thor-
ough initial device, and the plot starts again and fills out sig-
nificant moments. Nightfall and a highly contrasting black and
white cinematography seal the terrible fate the characters (and
the viewer) didnt foresee in the first part. DM
Espaa - Spain, 2016 / 70 / DCP / B&N
Espaol - Spanish
D, G, P, PE: Teresa Marcos F: Jos Valle E: Teresa Marcos, Jos Valle
DA: Susana de Dios S: Antonio de Benito M: Raquel Rodrguez,
Nacho Vegas, Enrique Morente CP: De Souna Producciones SL
I: Suso Martnez, Francisco Jambrina Mayo, Carmen Gloria Garca,
Olga Montero, Miguelo Garca
Contacto / Contact
De Souna Producciones SL. Teresa Marcos
T +34 684 611 426 E teresamarcosblanco@gmail.com
W desouna.com
329
PREMIERE MUNDIAL / WORLD PREMIERE
PLACES
IMPLANTACIN
Implantation
Inaugurado por el gobierno militar de Lanusse y construido
bajo el lema El barrio del ao 2000, Lugano I y II hoy es un
lugar repleto de seales y recorridos que sus idelogos deja-
ron programados para siempre. La pelcula se mueve entre los
fantasmas del pasado y la vida en el presente.
El discurso de Lanusse que abre el film tiene lugar en 1973
durante la inauguracin de una etapa de Lugano I y II, el ya
mtico complejo habitacional que persiste como uno de los lu-
gares ms emblemticos por distintos motivos de la ciudad
de Buenos Aires. Tras ese inicio, intercalando los planes y pla-
nos originales del complejo, la pelcula elige hacer un recorte
cotidiano de lo que es la vida all hoy: adolescentes rapeando,
competencias deportivas, actividades artsticas y chicos jugan-
do y contando historias son parte de este retrato de un lugar al
que, desde afuera, muchas veces se demoniza o no se entiende
en toda su dimensin. Se trata de una ciudad dentro de otra,
con sus contradicciones y dificultades, pero tambin con un
muestrario de algo que, sin irona alguna, podra definirse como
un enorme capital humano. Diego Lerer
LOS DIRECTORES / THE DIRECTORS
Fermn Acosta (Olavarra, 1990), Luca Salas (Trelew, 1990) y Sol
Bolloqui (Buenos Aires, 1988) formaron La Siberia Cine mientras cursa-
ban la carrera de Diseo de Imagen y Sonido en la UBA. Juntos dirigieron
los cortos Implantacin (2011), Siberia (2011) y Los exploradores (2016).
Fermn Acosta (Olavarra, 1990), Luca Salas (Trelew, 1990) and Sol
Bolloqui (Buenos Aires, 1988) founded La Siberia Cine while majoring in
Image and Sound Design at the UBA. Together they directed Implantacin
(2011), Siberia (2011) and Los exploradores (2016).
330 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Inaugurated by Lanusses military government and built un-
der the motto The neighborhood of the future, Lugano I and
II is today a place filled with signs and paths their promoters
left for good. The film moves among the ghosts of the past
and life in the present.
The Lanusse speech the film opens with is from 1973, during
the grand opening of a construction phase of Lugano I and II, the
already mythical housing complex that persists as one of the most
emblematic places in the city of Buenos Aires, for different rea-
sons. Following that opening, the film interweaves the old shots
of the complex with new ones, and chooses to make an everyday
depiction of life there today: teenagers rapping, sport competi-
tions, artistic activities, children playing and telling stories, these
are all pieces in the portrait of a place that is often demonized or
misunderstood. Its a city within a city, with its contradictions and
difficulties, but also a sample of something that may be defined
as a huge human capital, with no irony at all. DL
Argentina, 2016 / 77 / DM / Color / Espaol - Spanish
D, G, F, DA, P, PE: Fermn Acosta, Luca Salas, Sol Bolloqui
E: Manuel Ferrari S: Francisco Pedemonte I: Olga Morales,
Julio Morales, Sol Gonzlez, Nahuel Kiwi lvarez, Chueco con Eco
Contacto / Contact
LaSiberia Cine
T +54 11 3183 6717
E lasiberiacine@gmail.com

LA CIUDAD DE LAS RPLICAS
The City of Replicas
Cmo es tener un mellizo?, se interroga Belina Zavadisca en
esta pelcula, que combina un retrato de los mellizos Orellana y
las rplicas que se hicieron durante su gestin como intenden-
tes con un segmento ficcional en el que la directora hace un
casting para buscar a su propia melliza.
La obsesin de la ciudad de Famaill con las rplicas encuentra
una suerte de correlato social y cientfico: difcilmente se pue-
dan diferenciar causas de consecuencias en el hecho de que en
la ciudad hay una cantidad inusitada de parejas de mellizos. El
punto culminante de esto son los hermanos Orellana, quienes
se alternaron en la intendencia durante ms de dos dcadas,
y en quienes Zavadisca basa buena parte del documental. Si
la relacin entre original y rplica est cargada de tensin en an original and its replica is always charged with a kind of ten-
la que la subordinacin est siempre presente, la pregunta
entonces es si esa relacin es extrapolable a la que existe entre
dos personas fsicamente iguales, y hasta qu punto es posible
la identidad entre mellizos normalmente asumida. Existe un
mellizo Orellana original y uno doble? Rodrigo Aroz
BELINA ZAVADISCA
Naci en Tucumn, Argentina, en 1985. Estudi cine, video y televisin en
la UTN y en la FUC, y trabaj como guionista para el Conicet, Paka Paka
y Tecnpolis TV. Tambin se desempe como redactora creativa del
Departamento de Ideas y Desarrollo de Telefe. Codirigi el largo Tapaln,
la pelcula (Bafici 14).
Born in Tucumn, Argentina, in 1985, she studied film, video and televi-
sion at the UTN and the FUC, and worked as screenwriter for Conicet,
Paka Paka and Tecnpolis TV. She also worked as creative writer of Tele-
fes Department of Ideas and Development. She co-directed the feature
Tapaln, la pelcula (Bafici 14).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
LUGARES
Whats it like to have a twin?, Belina Zavadisca asks herself
in this film that combines a portrait of the Orellana twins and
the replicas made during their time as mayors, with a fictional
segment in which the director prepares an audition to find her
own twin.
The city of Famaill has an obsession with replicas that finds
a sort of social and scientific correspondence: you can hardly
differentiate causes from consequences in the fact that the city
has an unusual amount of twins. The Orellana brothers whom
Zavadisca follows for most of this documentary are the defini-
tive example of this, as they toggled between them the office
of city mayor for over two decades. If the connection between
sion which always includes a subordination then the question
here is whether that connection can be transported to the one
that exists between two physically identical people, and to what
extent normal identity is possible within twin siblings. Is one of
the Orellana twins the original, and the other one a double? RA
Argentina, 2016 / 67 / DM / Color / Espaol - Spanish
D, G: Belina Zavadisca F: Rodrigo Fafian E: Damin Tetelbaum
DA: Mariana Rotundo S: Freddy Uspallata M: Ramiro Mansilla Pons
P, PE: Laura Mara Tabln, Mariapaula Rithner CP: Rita Cine,
Achilata Producciones I: Jos Orellana, Enrique Orellana
Contacto / Contact
Rita Cine. Laura Mara Tabln
T +54 9 11 5936 5753
E lautablon@gmail.com
W facebook.com/laciudaddelasreplicas
331
PLACES
LA LTIMA TIERRA
Last Land
Amancio y Evangelina son una pareja de ancianos que vive
en un cerro. l est dispuesto a acompaarla en su lecho de
muerte hasta el final.
Consecuente con el trabajo en sus cortometrajes, en los que el
tema de la muerte y los actos rituales que la rodean aparecan
de manera central, la pera prima de este talentoso director
podra ser pensada como una aguda reflexin acerca de la
sucesin de pequeas acciones en el rito de despedida que
construye y seala el lmite entre la vida y la muerte (ese que
permitir dar lugar al duelo). Aqu la apuesta es radical, con m-
nimos elementos narrativos. Amancio ha vivido toda su vida con
su mujer, Evangelina, en el entorno rural paraguayo; se dedica
a cuidarla hasta el ltimo instante de su vida. La maana en la
que ella no forma ms parte de este tiempo marca el inicio del
duelo de Amancio. Lamar nos invita a seguirlo con detenimiento
y sin necesidad de dilogo alguno, con absoluta confianza en la
fuerza de cada plano. Violeta Bava
PABLO LAMAR
Naci en Paraguay en 1984, y estudi direccin de cine en la Universidad
del Cine de Buenos Aires. Dirigi el corto I Hear You Scream (2008).
He was born in Paraguay in 1984, and studied filmmaking the Buenos
Aires Universidad del Cine. He directed the short I Hear You Scream (2008).
332 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Amancio and Evangelina are an elderly couple living on the
hills. He is willing to accompany her in her deathbed.
Staying true to his short films, in which the topic of death and
the rituals around it are a key, the first feature-length film by this
talented director can be interpreted as a sharp reflection on the
succession of small actions that conform a sent-off ritual that
constructs and points at the divisive limit between life and death
(which enables mourning). This is a radical stake with minimum
narrative elements. Amancio has lived his entire life with his
wife, Evangelina, in rural Paraguay, and he takes care of her
until the last moment of her life. The morning when shes no
longer there sets the beginning of Amancios mourning. Lamar
invites us to follow him closely and with no need for dialogues,
with an absolute trust in the power of every shot. VB
Paraguay / Holanda / Chile / Catar - Paraguay / Netherlands /
Chile / Qatar, 2016 / 77 / DCP / Color / Espaol - Spanish
D, G, S, M: Pablo Lamar F: Paolo Girn E: Felipe Galvez
DA: Carlo Spatuzza PE: Pablo Lamar, Ilse Hughan,
Wiebke Toppel, Gabriela Sabate CP: Sapukai Cine,
Fortuna Films I: Ramn del Ro, Vera Valdez
Contacto / Contact
Sapukai Cine. Pablo Lamar
T +55 31 975 228 722
E sapukai.cine@gmail.com
W entrefilmes.com.br/La-Ultima-Tierra-Last-Land

LAS VEGAS IN 16 PARTS
Las Vegas en 16 partes
A partir de material de archivo en 16mm, Luciano Piazza pre-
senta una ciudad Lego construida mediante pequeas piezas
con luces de nen, casinos e imitadores de Elvis, para reve-
lar aquello que le da identidad a la Ciudad del Pecado.
Las Vegas in 16 Parts exhibe abiertamente su programa: retra-
tar una ciudad a partir de fragmentos. En esas partes, a modo
de mosaico, se construye esta sinfona urbana, mediante una
observacin precisa y detenida que se posa con igual dedica-
cin en los rituales matrimoniales como en las luces de nen
que se recortan en el cielo. Los objetos cobran nueva dimensin
a la vez que los sujetos se objetivan, como si fuesen, en igual
grado, los intrpretes de la danza que mantiene a la ciudad viva.
Ritos de consumo y variables de deseo, el cuerpo se vuelve
mercanca y el espacio adquiere carcter escenogrfico, como
si sobre la superficie de la pelcula la ciudad imprimiese una
versin espectral de s misma. Magdalena Arau
LUCIANO PIAZZA
Naci en Argentina, y estudi literatura en Buenos Aires, escritura crea-
tiva en Nueva York y cine en California. Dirigi el cortometraje Windows
by Night (2014).
He was born in Argentina, and studied literature in Buenos Aires, creative
writing in New Work, and filmmaking in California. He directed the short
film Windows by Night (2014).
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LUGARES
Using 16mm archive footage, Luciano Piazza presents a Lego
city built with small pieces with neon lights, casinos, and El-
vis impersonators and reveals the essence of the City of Sin.
Las Vegas in 16 Parts openly exhibits its program: to portray a
city using fragments. Like a mosaic, those portions build this ur-
ban symphony through a precise and thorough observation that
equally focuses on marriage rites and neon lights on the sky.
Objects gain a new dimension while subjects are objectified,
as if they were the actors in a dance that keeps the city alive.
Through consumption rituals and variables of desire, the body
turns into merchandise and the space gains a cinematographic
nature, as if the film printed a spectral version of itself on the
surface of the film. MA
Estados Unidos / Argentina - US / Argentina, 2015
62 / DCP / Color / Ingls - English
D, E: Luciano Piazza F: Luciano Piazza, Andrew Kim, Jackson McCoy
S: Luciano Piazza, Craig Smith P: Luciano Piazza, Mila Djordjevic,
Heather Trawick CP: Lpephemera
Contacto / Contact
Lpephemera. Luciano Piazza
T +1 917 972 2312
E lucianopiazza@gmail.com
W lpephemera.com ~ lasvegasin16parts.com
333
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PLACES
OYSTER FACTORY
Kaki kouba
Fbrica de ostras
El realizador nipn revela los problemas sociales de Japn a
travs de historias de lucha de los trabajadores de una planta
provincial de procesamiento de mariscos.
Si maana Kazuhiro Sola les tocara el timbre con su cmara a
cuestas, deberan alegrarse. Hara que su familia y compaeros
de trabajo lo aceptaran rpidamente, y les dejara una ancdota
mucho ms emocionante de lo que su vida cotidiana suele ser. Y,
en el camino, tambin documentara de fondo las idiosincrasias
y preocupaciones de sus compatriotas. Quin hubiera pensado
que pescar y descascarar ostras poda ser tan cautivador? Lo
es, y por muchas razones que van ms all del molusco en s.
Soda siempre tuvo talento para registrar los comportamientos
inconscientes de las personas y aceptar con brazos abiertos la
imprevisibilidad. Una actitud abierta recompensada nuevamen-
te mediante una sucesin de hechos extraos o cmicos. Las
pelculas podrn no cambiar el mundo, pero las de Soda tienen
la capacidad de mostrarnos la manera ms real de observar
nuestro mundo cambiante. Aurlie Godet
KAZUHIRO SODA
Naci en Japn en 1970. Entre sus pelculas como realizador se encuen-
tran Freezing Sunlight (1996) y Mental (2008; Bafici 09).
He was born in Japan in 1970. Among others, he directed Freezing
Sunlight (1996) y Mental (2008; Bafici 09).
334 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The Japanese filmmaker reveals the social issues in Japan
through the stories of struggle of a provincial seafood process-
ing plants workers.
If tomorrow Kazuhiro Soda were to ring at your door with his
camera in tow, rejoice. He would make your family and co-
workers accept his friendly self, and would leave with a story
much more thrilling than you ever imagined your daily life was,
somehow also documenting your countrymens idiosyncrasies
and concerns in the background. Who would have thought that
fishing and shucking oysters could be so engaging? It is, and
for many reasons beyond the mollusk itself. Soda has always
had talent for recording peoples unconscious behaviors and
welcoming unpredictability. An open attitude rewarded again by
a surge of strange or comical events. Films may not change the
world, but Sodas films can certainly show us how to look and
truly see our changing world. AG
Japn / Estados Unidos - Japan / US, 2015
145 / DCP / Color / Japons - Japanese
D, F, E: Kazuhiro Soda P: Kazuhiro Soda,
Kiyoko Kashiwagi CP: Laboratory X
Contacto / Contact
Pascale Ramonda
T +33 662 01 3 241
E pascale@pascaleramonda.com
W pascaleramonda.com

SHALOM BOMBN
Sofa, una joven fotgrafa argentina, es invitada a pasar diez
das en Israel con un grupo de treinta jvenes durante la gue-
rra en Gaza. Vuelve con un diario de viaje que se debate entre
un retrato ligero de vacaciones y el intento de entender un
conflicto de sesenta aos.
No hay grandes temas, sino formas de abordarlos. La subje-
tividad puede ser una excavadora que horada la roca dura de
la solemnidad. Shalom Bombn retrata el encuentro entre dos
mundos: exponentes de una clase media juda portea, univer-
sitarios y bellos, e Israel, tierra de sus antepasados. Este choque
cultural destapa un crisol de temas en igualdad de jerarquas:
entender la guerra con Palestina es tan crucial como divertirse;
encontrar un nexo entre la historia y la propia identidad es tan
vital como conseguir novio, o permitirse ser joven y sensual.
Ungar hace de su cuerpo una extensin de la cmara, nos su-
merge en un viaje elptico por Israel, clases de danza, fogones,
soldados, chanzas. Filmar se vuelve un acto de autoafirmacin,
una forma gozosa de decir yo soy, mucho ms potente que
las dogmticas explicaciones de los guas locales. Guido Segal
SOFA UNGAR
Naci en Bariloche, Argentina, en 1987. Estudi diseo grfico y fotogra-
fa. Actualmente vive y trabaja en Buenos Aires, donde dicta talleres de
fotografa para jvenes.
She was born in Bariloche, Argentina, in 1987. She studied graphic
design and photography. She currently lives and works in Buenos Aires,
where she gives photography workshops for young people.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE MUNDIAL / WORLD PREMIERE
LUGARES
Sofa, a young Argentine photographer, is invited to spend ten
days in Israel with a group of thirty young people during the
Gaza conflict. She returns with a travel log thats part light por-
trait of a vacation, part an attempt to understand a 60-year-old
conflict.
There are no big subjects, only ways of approaching them.
Subjectivity can be an excavator that drills the hard rock of
gravity. Shalom Bombn portrays the meeting of two worlds:
exponents of a Jewish middle-class Buenos Aires, good-looking
college students, and Israel, land of their ancestors. This cul-
ture clash reveals a melting pot of subjects in equal hierarchies:
understanding the war with Palestine is as crucial as having
fun; finding a link between history and ones own identity is as
vital as finding a boyfriend, or allowing oneself to be young and
sensual. Ungar turns her body into an extension of the camera,
and immerses us in an elliptical trip across Israel that includes
dance lessons, campfires, soldiers, joking. Filming becomes an
act of self-affirmation, a joyous way of saying I am, much more
potent than the dogmatic explanations of local guides. GS
Argentina, 2016 / 65 / DM / Color / Espaol - Spanish
D, G, F, DA, P: Sofa Ungar E: Joaqun Aras S: Rodrigo Sanchez
Mario M: Ariel Pukacz PE: Milton Rodrguez, Florencia Azorin
CP: Libres Films I: Zoe Trilnick Farji, Marina Hxter, Ivn Comas,
Tamara Zukierman
Contacto / Contact
Libres Films. Sofa Ungar
T +54 9 11 6371 3729
E fotografiasofia@gmail.com
W libresfilms.com ~ cargocollective.com/shalombombon
335
PLACES
SIEMBRA
Turco, un pescador de la costa pacfica colombiana, llora la
muerte de su hijo. Mientras se celebran los rituales tradi-
cionales de velacin, deambula por la ciudad para realizar
su propio duelo, pero el tiempo pasa y tiene que encontrar
un lugar para enterrarlo.
Esta es una ficcin que funciona como documental. No solo
porque ngela Osorio Rojas y Santiago Lozano se imponen
abordar una realidad poco comentada como es la migracin
forzada por el conflicto armado, sino tambin porque exploran,
sin artificios, un mundo sensible en el que se desarrolla una his-
toria de destierro y duelo. En un expresivo blanco y negro, y con
agudeza a la hora de registrar detalles, los realizadores siguen
el dolor de un hombre a travs de una tierra marcada por los
rituales, el baile, el trabajo y la violencia. Siembra es un relato
ntimo que revela un conflicto de grandes proporciones, lleno de
vida, movimiento, sensaciones. Y cuenta adems con una de las
actuaciones ms convincentes del cine colombiano reciente, a
cargo del msico Diego Balanta. Andrs Nazarala R.
LOS DIRECTORES / THE DIRECTORS
Angela Osorio: Es licenciada en Comunicacin Social en la Universidad
del Valle Actualmente se desempea como Directora de Educacin y
Cultura en el Museo La Tertulia de Cali. Santiago Lozano: Es licenciado
en Comunicacin Social de la Universidad del Valle. Produjo varias pel-
culas y trabaja como docente en la Universidad Autnoma de Occidente.
Angela Osorio majored in Social Communication at Universidad del
Valle. She currently works as Head of Education and Culture at the La
Tertulia Museum in Cali. Santiago Lozano majored in Social Communi-
cation at Universidad del Valle. He produced several films and works as
professor at Universidad Autnoma de Occidente.
336 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Turco, a fisherman in the Colombian Pacific shore, mourns the
death of his son. While they celebrate the traditional waking
rituals, he wanders around the city to perform his own mourn-
ing, but time passes and he needs to find a place to bury him.
This is a fiction that works as a documentary. Not only because
ngela Osorio Rojas and Santiago Lozano address the rather
untapped reality of forced migration caused by armed conflicts,
but also because they neatly explore a sensible universe that
features a story of banishment and mourning. With a black and
white, expressive cinematography and with attention to detail,
the filmmakers follow a mans pain as he moves through a land
marked by rituals, dancing, work, and violence. Siembra is an
intimate story that reveals a conflict of great proportions, burst-
ing with life, movement and feelings. And it also features one of
the most convincing acting performances in recent Colombian
cinema, by musician Diego Balanta. ANR
Colombia / Alemania - Colombia / Germany, 2015
82 / DCP / B&N / Espaol - Spanish
D, E: ngela Osorio Rojas, Santiago Lozano lvarez G: ngela Osorio
Rojas F: Juan David Velsquez DA: Carmen Gmez S: Leandro De
Loredo, Alejandro Fbregas P: Gerylee Polanco Uribe, scar Ruiz
Navia, ngela Osorio Rojas, Santiago Lozano lvarez CP: Contrava
Films, Brbara Films I: Diego Balanta, Ins Granja, Jos Luis Preciado,
Carol Hurtado, John Javier Ramos
Contacto / Contact
Cineplex Inc. Diana Salcedo T +1 954 495 8653
E diana@cineplexusa.com W contraviafilms.com.co ~ cineplexusa.com

Foto / Photo: Yulia Serdyukova
UKRAINIAN SHERIFFS
Comisarios ucranianos
Dos sheriffs locales, recientemente designados por el alcalde
de una remota ciudad ucraniana, deben lidiar con delitos coti-
dianos en das en que las noticias sobre la guerra comienzan
a hacerse cada vez ms notorias a travs de la televisin y de
las llamadas para unirse al Ejrcito.
La pequea comunidad campesina de Stara Zburjivka (no in-
tenten pronunciar esto en sus casas) parece vivir todava en
esa Ucrania presovitica que Gogol describi, entre el horror y
el humor, en Veladas en un casero de Dikanka. Alguno pensa-
r que all no pasa gran cosa, pero crannos que s. Y cran-
nos tambin que en cada cosa que pasa, adems del inefable
do titular aka Tony Soprano y Chuck Norris y su Lada
amarillo decorado con una banderita ucraniana, est la cma-
ra de Ukrainian Sheriffs. Registrando el absurdo cotidiano a la
distancia justa y con un humanismo innegociable, Bondarchuk
consigue algo dificilsimo para un documental: capturar en los
detalles ms nfimos las huellas que los grandes traumas pol-
ticos esos que Ucrania conoce, tristemente, de sobra dejan
en las personas. Agustn Masaedo
ROMAN BONDARCHUK
Estudi cine, teatro y televisin en Ucrania. Taxi Driver, su pelcula de
graduacin, gan el premio de la Crtica de Cine de Rusia.
He studied film, theater and television in Ukraine. Taxi Driver, his thesis
film, won the award from the Russian Film Critic Guild.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LUGARES
Two local sheriffs recently appointed by the mayor of a remote
Ukrainian city must deal with everyday felonies in times when
the news about the war start becoming more and more notice-
able through television and calls of duty.
The small rural community of Stara Zburjivka (dont try to pro-
nounce this at home) still appears to be living in the pre-Soviet
Ukraine described between horror and humor in Gogols Eve-
nings on a Farm Near Dikanka. Some of you may think nothing
really happens there, but believe us that it does. And believe us
too that Ukrainian Sheriffs camera is right there where every-
thing happens, just like the infamous indescribable duet of the
title aka Tony Soprano and Chuck Norris and their yellow
Lada adorned with an Ukranian flag. By capturing the everyday
absurdity from a fair distance and with a non-negotiable hu-
manism, Bondarchuk delivers something that is very difficult to
accomplish for a documentary: to capture in intimate detail the
traces that big political traumas the kind Ukraine knows plenty
of, sadly leave on people. AM
Ucrania / Letonia / Alemania - Ukraine / Latvia / Germany, 2015
85 / DCP / Color / Ucraniano - Ukrainian
D, F: Roman Bondarchuk G: Darya Averchenko E: Kateryna Gornostai,
Roman Bondarchuk, Borys Peter DA: Varvara Perekrest
S, M: Borys Peter P: Uldis Cekulis CP: VFS Films I: Vitya Voledya
Contacto / Contact
Taskovski Films. Vanja Savic
T +387 65 322 758
E submissions1@taskovskifilms.com
W taskovskifilms.com ~ facebook.com/TaskovskiFilms
337
PLACES

ECO
Echo

A Eco le quitaron la voz y la condenaron a repetir lo que decan

los dems. Anulada, decide refugiarse en una cueva y alejarse
del trato humano.
Echos voice was stolen and she was sentenced to repeat what
everyone else said.Trapped, she decides to take shelter in a
cave and to distance herself from human touch.
Espaa - Spain, 2015 / 20 / DM / Color
Gallego / Espaol - Galician / Spanish
XACIO BAO
D, E, P, PE: Xacio Bao G: Xacio Bao, Xos Barato, Roco Gonzlez
Naci en Espaa en 1983. Estudi cine en la Universidad de Len. F: Luca C. Pan DA: Mara Zaragoza S: Xoan Escudero
Produjo, escribi y dirigi varios cortometrajes, entre ellos Ser e voltar CP: Rebordelos I: Xose Barato, Roco Gonzlez
(2014), Anacos (2012) y Estereoscopa (2011).
Contacto / Contact
He was born in Spain in 1983. He studied filmmaking at the University
Rebordelos. Xacio Bao
of Leon. He produced, wrote, and directed several short films, including
T +34 606 555 524
Ser e voltar (2014), Anacos (2012) and Estereoscopa (2011).
E xaciorb@gmail.com
W eco.rebordelos.com

338 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

RESCATES
RESCUES
RESCUES
APERTURA / OPENING
En el verano de 1964, la ciudad de Nueva York fue testigo del
rodaje de Film, la primera y nica pelcula del dramaturgo Samuel
Beckett. Los crditos finales as lo confirman, Film by Samuel
Beckett, si bien la pelcula escrita por Beckett est realizada
por su colaborador Alan Schneider. Esa es la gran paradoja de
Film, una pelcula que quiere ser un tratado cinematogrfico, un
manifiesto sobre las posibilidades del medio expresado priorita-
riamente a travs de su trabajo espacial con una cmara siempre
mvil (en la lnea del ms audaz F. W. Murnau, y cuyo responsable
no es otro que Boris Kaufman, el hermano de Dziga Vertov y la
mano derecha de Jean Vigo) y el no-rostro de su protagonista,
ni ms ni menos que Buster Keaton; en definitiva, la anttesis
de lo que podramos esperar de un dramaturgo. La pelcula, las
razones que llevaron a su realizacin, su rodaje o su polmica
e incomprendida recepcin son los aspectos que precisamente
aborda Ross Lipman en su contrarrplica Notfilm, una de las me-
jores pelculas que jams se hayan hecho sobre otra pelcula, una
autntica edicin crtica de su ya inseparable Film. Jaime Pena
FILM
Film
Cinco aos antes de recibir el Nobel de Literatura, el drama-
turgo Samuel Beckett concibi su nica pelcula. Una perse-
cucin entre la cmara y la imagen que encuentra su esencia
cinematogrfica en el objeto perseguido, que no es otro que un
anciano Buster Keaton.
Five years after receiving the Nobel Prize in Literature, play-
wright Samuel Beckett conceived his only film. A chase between
camera and image that finds its cinematic essence in the object
being chased, which is no other than an elderly Buster Keaton.
Estados Unidos - US, 1965 / 22 / DCP / B&N
Ingls - English
D: Alan Schneider G: Samuel Beckett F: Boris Kaufman
E: Sidney Meyers DA: Burr Smidt P: Barney Rosset
PE: Evergreen Theatre CP: Evergreen Theatre
I: Buster Keaton, Nell Harrison, James Karen, Susan Reed
Restaurada por UCLA Film & Television y Milestone Film
& Video.
Restaured by UCLA Film & Television and Milestone
Film & Video.
340 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In the summer of 1964, the city of New York witnessed the
shooting of Film, the first and only film by playwright Samuel
Beckett. The end credits so confirm it, Film by Samuel Beck-
ett, even though the film written by Beckett was made by his
collaborator Alan Schneider. Thats the great paradox in Film,
a film that wants to be a cinematic treatise; a manifesto about
the possibilities of the medium expressed mainly through its
spatial work with a camera always in motion (in line with the
most audacious manifestation of F. W. Murnau and whose
person responsible is none other than Boris Kaufman, Dziga
Vertovs brother and Jean Vigos right-hand man) and the
non-face of its protagonist, Buster Keaton himself; in short,
the antithesis of what we could expect from a playwright.
The film, the reasons that led to its making, its shooting or
its controversial, misunderstood reception are precisely the
aspects that Ross Lipman covers in his rejoinder Notfilm, one
of the best films ever made about another film, an truly criti-
cal edition of its already inseparable Film. JP
PREMIERE LATINOAMERICANA / LATAM PREMIERE
NOTFILM
Notfilm
Ross Lipman realiza un ensayo experimental sobre Film, la
pelcula de Samuel Beckett, mediante la utilizacin de graba-
ciones de las reuniones de produccin. Con este experimento,
Lipman se propone resolver un enigma cinematogrfico con
ms preguntas que respuestas.
Ross Lipman makes an experimental essay in Becketts Film
using recordings from the production meetings. With this ex-
periment, Lipmans goal is to solve a cinematic enigma with
more questions than answers.
Estados Unidos - US, 2015 / 128 / DCP / Color & B&N
Ingls - English
D, G, F, E, DA, S: Ross Lipman M: Mihly Vg
P: Amy Heller, Dennis Doros CP: Milestone Film, Video Corpus Fluxus
I: Samuel Beckett, James Karen, Buster Keaton, James Knowlson,
Billie Whitelaw
Contacto / Contact
Milestone Film & Video. Dennis Doros
T +1 201 767 3117 E milefilms@gmail.com
W milestonefilms.com ~ filmbysamuelbeckett.com

APENAS UN DELINCUENTE
Hardly a Criminal
Un oficinista decide estafar a la empresa en la que trabaja para
disfrutar del dinero que esconde luego de cumplir su condena
en la crcel. Pero el sufrimiento de su familia y la desconfianza
que le tiene a su hermano lo llevarn a planear una fuga.
Un argumento que despus vimos reproducido miles de ve-
ces: un empleado de oficina que quiere tener una vida mejor
a cualquier costo decide, ahogado por deudas de juego, saltar
el alambrado y llevar adelante una estafa que parece simple.
Apenas un delincuente es, quizs, la pelcula ms redonda que
Fregonese haya filmado en Argentina y, si viviramos en un
mundo ms justo, aquella por la que todo el mundo lo cono-
cera, como conoce a Alfred Hitchcock o a John Ford o a Billy
Wilder. Con el nico protagnico de Sabastin Chiola, que fa-
llecera al ao siguiente con menos de 30 aos (quizs nuestro birthday, which would make him our John Cazale the visual
John Cazale), el nivel de planteo visual y modernidad que mane-
jaba Fregonese hace casi 70 aos va a dejar, o por lo menos de-
bera dejar, a ms de uno con la boca abierta. Santiago Calori
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
RESCATES
An office worker decides to rip off the company he works for
in order to enjoy the hidden money after doing time in prison.
But his familys suffering and his distrust for his brother lead
him to plan an escape.
A story weve seen reproduced a thousand times already: a
business employee wants to have a better life at any cost and
hes swamped with gambling debts, so he decides to jump
over the fence and carry out a con that looks simple. Hardly
a Criminal is probably the roundest film Fregonese shot in Ar-
gentina, and if we lived in a fair world this would be the film
that made him as famous as Alfred Hitchcock, John Ford, or
Billy Wilder. With a single main character played by Sebastin
Chiola who passed away the following year before his 30th
setting and modern tone Fregonese was able to deliver almost
70 years ago will or at least it should leave more than one
viewer open-mouthed. SC
Argentina, 1949 / 90 / 35mm / B&N / Espaol - Spanish
D: Hugo Fregonese G: Chas de Cruz, Hugo Fregonese
F: Roque Giacovino E: Jorge Garate S: Mario Fezia M: Julin Bautista
P: Juan Jos Guthmann I: Jorge Salcedo, Sebastin Chiola, Tito Alonso
Contacto / Contact
Museo del Cine Pablo Ducrs Hicken
T +54 11 4303 2882 ~ +54 11 4303 2883
E museodelcine@buenosaires.gob.ar
W buenosaires.gob.ar/museodelcine
341
RESCUES
HASTA DESPUS DE MUERTA
Til After Her Death
Parravicini encarna a su caracterstico atorrante de buen co-
razn en este melodrama trgico de seduccin, sacrificio y
abandono, que tambin es una comedia de costumbres.
La nueva pelcula acusa un mejoramiento sensible en lo que
respecta a la nitidez de la fotografa y a la tcnica de la compo-
sicin sobre la mayora de las hechas hasta la fecha en el pas,
sealaba el diario La Prensa. En efecto, el film muestra pro-
gresos tcnicos y tambin formales importantes (todo el relato
es flashback, algo inusual para la poca) respecto de Nobleza
gaucha, el xito del ao anterior de la misma productora. Se es-
tren el 13 de agosto de 1916 en el cine Callao, y fue uno de los
mayores xitos del cine nacional de entonces. Hasta despus
de muerta, escrito por el actor Florencio Parravicini, es el nico
de los tres largometrajes de ficcin realizados en nuestro pas
en 1916 que an se conserva, si bien los negativos y copias en
nitrato 35mm se perdieron hace mucho tiempo. El Museo del
Cine de Buenos Aires guarda un negativo 16mm, del cual se
hizo una copia en HD para su proyeccin, cien aos despus,
en Bafici. Andrs Levinson
342 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Parravicini plays his characteristic scoundrel-with-a-heart in
this tragic melodrama of seduction, sacrifice and abandon-
ment that is also a comedy of manners.
The new film shows a considerable improvement regarding the
sharpness of the cinematography and composition techniques
comparing it with most of the films made so far in this country,
said La Prensa newspaper. Indeed, the film shows important
technical and formal advances (the entire story is a flashback,
something very unusual for that time) from Nobleza gaucha, the
film from the same production company that was a hit the year
before. It opened on August 13 th, 1916 at the Callao theater,
and became one of the greatest film hits from that time.
Written by actor Florencio Parravicini, Hasta despus de muerta
is the only remaining film of the three that were made in our
country in 1916, although its negatives and 35mm nitrate prints
were lost a long time ago. The Buenos Aires Film Museum has a
16mm negative, which was used to make an HD copy so it can
be screened, a hundred years later, in Bafici. AL
Argentina, 1916 / 70 / DM / B&N
D: Enrique Ernesto Gunche, Eduardo Martnez de la Pera
G: Florencio Parravicini I: Argentino Gmez, Mara Fernanda Ladrn de
Guevara, Silvia Parodi, Florencio Parravicini, Pedro Quartucci
Contacto / Contact
Museo del Cine Pablo Ducrs Hicken
T +54 11 4303 2882 +54 11 4303 2883
E museodelcine@buenosaires.gob.ar
W buenosaires.gob.ar/museodelcine

CON LOS PUOS EN LOS BOLSILLOS
I pugni in tasca
Fists in the Pocket
En un chalet, antes lujoso y actualmente en ruinas, vive una
familia burguesa casi totalmente aislada conformada por una
madre ciega con cuatro hijos con trastornos mentales. Uno de
ellos, Alessandro, llega hasta el punto de planear el asesinato
de toda la familia.
Dos personajes quieren alejarse un poco de sus vidas. Dejando
atrs exmenes y trabajo, Witold y Fuchs son huspedes en un
lugar que, esperan, pueda darles tranquilidad. Sin embargo, se
topan con un espacio inquietante que se ir convirtiendo en
todo lo que no esperaban encontrar. La propuesta de esta pe-
ra prima una de las ms intensas de la historia del cine es
sencilla: meternos en la vida de una familia burguesa italiana
que va escalando estados de demencia cada vez ms grandes,
y que se encuentra incapaz de adaptarse a un mundo que ya no
entiende. En medio de esto, Bellocchio destroza varios smbolos
esenciales de la Italia tradicional (desde el catolicismo hasta
figura de la madre y la pera), habla del famoso vaco existen-
cial burgus con un tono que oscila entre la comedia negra e
incluso el terror, y trabaja sobre una puesta en escena desprolija
que refleja a la perfeccin la mentalidad de una familia secre-
tamente obsesionada con la (auto)destruccin. Hernn Schell
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
RESCATES
In a villa that was once luxurious and is now in ruins lives an
almost isolated bourgeois family formed by a blind mother and
her four mentally disturbed children. One of them, Alessandro,
gets to the point of planning on murdering the entire family.
Two characters want to get away from their lives for a bit. Witold
and Fuchs leave their exams and jobs aside and settle in a place
that hopefully will provide them with a quiet time. However, they
end up in a disturbing place that will progressively turn into all
the things they didnt expect to find. The aim of this first feature
one of the most intense in the history of film is simple: to
introduce to us an Italian bourgeois family that becomes more
and more demented each time and is incapable of adapting to
a world it no longer understand. In the middle of all this, Bel-
locchio destroys some essential symbols of the Italian tradition
(Catholicism, mothers, the opera) and refers to the famous ex-
istential vacuum of the bourgeoisie with a tone that oscillates
between black comedy and even horror cinema as he opts for
a sloppy mise en scne that perfectly reflects the mentality of a
family secretly obsessed with (self-)destruction. HS
Italia - Italy, 1965 / 105 / DCP / B&N
Italiano - Italian
D, G: Marco Bellocchio F: Alberto Marrama E: Silvano Agosti,
Anita Cacciolati DA: Gisella Longo S: Vittorio De Sisti
M: Ennio Morricone P: Enzo Doria CP: Doria I: Lou Castel,
Paola Pitagora, Marino Mas, Liliana Gerace
Contacto / Contact
The Match Factory. Sergi Steegmann
E sergi.steegmann@matchfactory.de
W the-match-factory.com
343
RESCUES
A TOUCH OF ZEN
Xia nu
Un toque de zen
En la China de la dinasta Ming, Gu trabaja como pintor y
lleva una vida tranquila junto a su madre. Hasta que cono-
ce a una misteriosa joven, hija de un polica asesinado, que
es perseguida por unos agentes que intentan erradicar todo
rastro de su familia.
A Touch of Zen es a la obra cinematogrfica de King Hu lo que
rase una vez en el Oeste es a la de Sergio Leone: la suma per-
fecta de tpicos, rasgos y estilo que define una visin del cine y
del mundo. En este relato acerca del herosmo y los cimientos
de la mitologa, Hu alcanza su punto mximo de condensacin
y abstraccin formal, transformando los cuerpos, espadas y
espacios fsicos en la materia prima con la cual construir una
reflexin sobre el placer del movimiento. La escena que cierra la
primera parte del fim debera listarse obligatoriamente entre las
ms bellas de la historia del cine. Con sus breves tres horas de
duracin, la primera pelcula taiwanesa de la historia en viajar
a Cannes ha influenciado secreta y abiertamente a decenas de
realizadores y films posteriores. No verla en esta versin restau-
rada primorosamente es un pecado mortal. Diego Brodersen
344 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In China, during the Ming Dynasty, Gu works as a painter and
leads a quiet life with her mother. Until she meets a mysteri-
ous young woman, the daughter of a murdered policeman,
whos looked for by some agents that intend to eradicate all
traces of her family.
A Touch of Zen is to King Hus film career what Once Upon a
Time in the West is to Sergio Leones: the perfect sum of top-
ics, characteristics and style that define a vision of cinema and
the world. In this story about heroism and the foundations of
mythology, Hu reaches its peak when it comes to condensation
and formal abstraction, transforming bodies, swords and physi-
cal spaces into the raw material that builds up a reflection on
the pleasure of movement. The scene that closes the first part
of the film should be listed among the most beautiful in film
history. With its brief running time of three hours, the first Tai-
wanese film to travel to Cannes has influenced dozens of later
directors and films both secretly and openly. Not seeing it in this
exquisitely restored version is a deadly sin. DB
Taiwn - Taiwan, 1971 / 180 / DCP / Color
Mandarn / Mandarin
D, G: King Hu F: Hua Hui-ying E: King Hu, Wang Chin-chen
DA: Chen Shang-lin S: Chang Hua M: Wu Ta-chiang, Lo Ming-tao
P: Hsia-wu Liang-fang, Yang Shih-ching PE: Sha Yung-fong
CP: Union Film I: Hsu Feng, Shih Chun, Bai Ying
Contacto / Contact
Taiwan Film Institute. Howard Yang
T +886 2 2392 2008
E howardaustin0911@mail.tfi.org.tw
W tfi.org.tw

DRAGON INN
Long men kezhan
Posada del dragn
En medio de la dinasta Ming, Yu Qian es asesinado por Cao, el
jefe eunuco del emperador. Los hijos de Yu son condenados al
exilio pero a medida que viajan hacia la frontera occidental del
imperio, Cao enva a dos de sus mejores agentes de la polica
secreta para matarlos.
Luego del rotundo xito de Come Drink with Me (1966) ex-
hibida en una de las primeras ediciones del Bafici, el realiza-
dor King Hu decidi cortar las cadenas que lo unan al estudio
hongkons Shaw Brothers e iniciar una carrera independiente
en la vecina isla de Taiwn. El hijo prdigo de esa resolucin
temeraria se llam Dragon Inn, un clsico instantneo del cine
de artes marciales en su vertiente tradicional (los conocedores
llaman a ese gnero wuxia pian). Retomando algunas ideas de
su film anterior, y luego de un prlogo a cielo abierto, Hu coloca
a hroes, villanos e indecisos en una posada perdida cerca de
la frontera e instala el suspenso y la accin sobre una gruesa
capa de belleza formal con ms de una referencia cruzada al
western. Algunos incluso llaman a esta primera obra maestra de
King Hu la Rio Bravo del este. Diego Brodersen
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
RESCATES
In the midst of the Ming Dynasty, Yu Qian is murdered by Cao,
the Emperors Eunuch. Yus sons are sentenced to exile, but as
they approach the Empires west border, Cao sends two of his
best agents from the secret police to murder them.
After the enormous success of Come Drink with Me (1966)
shown at one of the first editions of Bafici, filmmaker King
Hu decided to cut the chains that bound him Hong Kongs
Shaw Brothers studio and start an independent career in the
neighboring island of Taiwan. The prodigal son of that reckless
resolution was called Dragon Inn, and became an instant clas-
sic of traditional martial arts cinema (which connoisseurs refer
to as wuxia pian). Taking up some ideas from the previous film,
and after an open-sky prologue, Hu places heroes, villains and
the indecisive in a remote inn near the border and settles the
suspense and the action over a thick layer of formal beauty with
more than one reference to westerns. Some even call King Hus
first masterpiece the Rio Bravo of the East. DB
Taiwn - Taiwan, 1967 / 111 / DCP / Color
Mandarn / Mandarin
D, G: King Hu F: Hua Hui-ying E: Chen Hung-min
DA: Chow Chi-leung S: Chang Hua M: Chow Lan-ping
P: L.S. Chang, Yang Shih-ching PE: Sha Yung-fong CP: Union Film
Company Ltd. I: Shang-guan Ling-feng, Shih Chun, Bai Ying
Contacto / Contact
Taiwan Film Institute. Howard Yang
T +886 223 922 008
E howardaustin0911@mail.tfi.org.tw
W tfi.org.tw
345
RESCUES
LA CHICA DE ROSA
Pretty in Pink
Los aos ochenta no seran lo mismo sin esta fbula estu-
diantil que puso en gravitacin las diferencias sociales. Molly
Ringwald se termina de transformar en cono pop al inter-
pretar a Andie, una chica de clase media enamorada de un
muchacho de clase alta.
La gente se olvida de que, cuando tens 16 aos, es pro-
bable que seas ms serio que en el resto de tu vida. Penss
seriamente sobre cuestiones importantes, dijo alguna vez,
marcando su canon, John Hughes. Detrs de esa frase est
la filosofa que reina en clsicos ochentosos como Se busca
novio, El club de los cinco, La chica explosiva y Experto en
diversin, pero que tambin se extiende a dos films guionados
por Hughes y dirigidos por Howard Deutch: La chica de rosa
y su casi remake, menos pop y con final cambiado Alguien
maravilloso. Es probable que La chica de rosa haya inventado
el pop como lo entendemos hoy, con su vestuario volcni-
co, sus peinados new wave, las relaciones con implicancias
cardiovasculares y esa inmortal banda sonora. Y con Andie y
Duckie, dos personajes irresistibles. Pablo Conde
346 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The 80s wouldnt have been the same without this high-
school fable that talked about social differences. Molly Ring-
wald completes her transformation into a pop icon by playing
Andie, a middle-class girl in love with a rich boy.
People forget that when youre 16, youre probably more se-
rious than youll ever be again. You think seriously about the
big questions, John Hughes once said, making a mark on his
canon. Behind that quote is the philosophy that rules over 80s
classics like Sixteen Candles, The Breakfast Club, Weird Sci-
ence and Ferris Buellers Day Off, but that also extends to the
films scripted by Hughes and directed by Howard Deutch: Pretty
in Pink and its almost-remake, a little less pop and with a dif-
ferent ending Some Kind of Wonderful. It is possible that Pretty
in Pink invented pop as we understand it today, with its volcanic
wardrobe, its new-wave hairstyles, the relationships with car-
diovascular implications and that immortal soundtrack. An with
Andie and Duckie, two irresistible characters. PC
Estados Unidos - US, 1986 / 96 / DCP / Color / Ingls - English
D: Howard Deutch G: John Hughes F: Tak Fujimoto E: Richard Marks
DA: John W. Corso S: Chris Carpenter M: Michael Gore
P: Lauren Shuler PE: John Hughes, Michael Chinich
CP: Paramount Pictures I: Molly Ringwald, Harry Dean Stanton,
Jon Cryer, James Spader, Annie Pott
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com

THE BRICK AND THE MIRROR
Khesht va Ayeneh
El ladrillo y el espejo
Una noche, Hashem encuentra a un nio en el asiento trasero
de su taxi. El conductor y su novia intentan cuidar del chico no
deseado, pero el hombre insiste en deshacerse de l a la vez
que Taji cree que debe quedarse con ellos.
La influencia de la primera nueva ola iran de los aos sesenta
en cineastas contemporneos como Abbas Kiarostami, Jafar Pa-
nahi y Ana Lily Amirpour es profunda. Sin embargo, estas obras
pioneras fueron muy poco accesibles en Occidente. Este clsico
recin restaurado ofrece una manera ideal de sumergirse en ese
emocionante perodo de la historia del cine en el que un cine
iran independiente surgi desde una fusin entre la narracin,
las imgenes poticas y el documental. La Tehern prerrevolu-
cin cobra vida en las imgenes panormicas expresionistas en
blanco y negro de Soleyman Minassian para una pelcula que,
entre rasgos de Antonioni y un clmax tan desgarrador como
inolvidable, se convierte en una crtica alegrica de la clase inte-
lectual de Tehern: hedonista, de alma enferma y cegada ante la
acechante amenaza de represin poltica. MoMA
Versin digital remasterizada, cortesa de University of Chicago Film Studies Center /
Digitally remastered version courtesy of The University of Chicago Film Studies Center.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
RESCATES
One night, Hashem finds a kid in the back seat of his taxi. The
driver and his girlfriend try to take care of the unwanted kid,
but the man insists in getting rid of him as Taji thinks he has
to stay with them.
The influence of the first Iranian New Wave of the 1960s on
contemporary filmmakers like Abbas Kiarostami, Jafar Panahi,
and Ana Lily Amirpour is profound, yet these pioneering works
have been largely inaccessible in the West. This newly restored
classic offers an ideal entry point into this exciting period of
film history, when an independent Iranian cinema movement
emerged from a fusion of storytelling, poetic images, and docu-
mentary. Pre-revolutionary Tehran pulsates with life in Soleyman
Minassians expressionistic black-and-white widescreen pho-
tography for a film that, with shades of Antonioni and a climax as
harrowing as it is unforgettable, becomes an allegorical critique
of Tehrans intellectual class: hedonistic, sick-souled, and blind
to the looming threat of political repression. MoMA
Irn - Iran, 1965 / 123 / DCP / B&N / Farsi
D, G, E: Ebrahim Golestan F: Amir Karari, Soleiman Minasian
I: Taji Ahmadi, Zackaria Hashemi, Parviz Fanizadeh
Contacto / Contact
Film Studies Center of the University of Chicago. Julia Gibbs
E jgibbs@uchicago.edu
W filmstudiescenter.uchicago.edu
347
RESCUES

ARCHIVOS INTERVENIDOS: CINE ESCUELA

FUNCIONES GRATUITAS / FREE SCREENINGS

Continuando la serie iniciada con Sucesos intervenidos (2014),
el Museo del Cine de Buenos Aires presenta el segundo lar-
gometraje realizado ntegramente con material de sus archivos
y por catorce destacados realizadores argentinos. Se trata de
nueve nmeros de Cine Escuela Argentino, un proyecto creado
en 1948 por la Secretara de Educacin de Argentina durante
el primer gobierno de Juan Domingo Pern. Este promova el
empleo del cinematgrafo como auxiliar didctico destinado a
completar la labor educadora y cultural, principalmente en lo
que atae a exaltar los sentimientos de la nacionalidad, con el
ejemplo heroico de los prceres, la moral cristiana y los mlti-
ples deberes civiles, grandes y pequeos. De all que la mayor
parte de las pelculas producidas por Cine Escuela Argentino
tuvieran como objeto la divulgacin cientfica y la promocin
turstica de las diversas regiones del pas. Museo del Cine
Continuing the series started by Intervened Events (2014), Bue-
nos Aires Film Museum presents the second feature fully made
with footage from its archives by fourteen renowned Argentine
filmmakers. Its made up of nine issues of the Argentine Film
School, a project created in 1948 by Argentinas Secretary
of Education, during Juan Domingo Perns first presidency.
It promoted the use of cinema as a teaching tool destined to
complete the task of educating and providing culture, mainly
regarding the exaltation of the feelings of nationality, with the
heroic example of historical figures, Christian morals and the
multiple civil duties, both large and small. It was due to this
that most of the films produced by the Argentine Film School
had scientific spreading and the touristic promotion of different
regions of the country as their subject matter. MDC

LOS DIRECTORES / THE DIRECTORS Argentina, 2016 / 70 / DM / Color

Albertina Carri, Carlos Echeverra, Celina Murga, Juan Villegas, Daniel
Contacto / Contact
Rosenfeld, Delfina Castagnino, Enrique Bellande, Hernn Rosselli, Jos
Museo del Cine Pablo Ducrs Hicken. Elosa Solaas, Francisco Lezama
Celestino Campusano, Mara Alch & Juan Pablo Menchn, Mateo
T +54 11 4361 2273
Bendesky, Matas Pieiro, Nele Wohlatz, Nicols Prividera, Santiago Loza,
E esolaas@buenosaires.gob.ar ~ flezama@buenosaires.gob.ar
Lorena Moriconi.
W buenosaires.gob.ar/museodelcine

Produccin general:
Elosa Solaas y Francisco Lezama (Museo del Cine de Buenos Aires)
Con el apoyo de:
TV Pblica / Archivo Histrico de RTA
Fundacin Universidad del Cine (FUC)

348 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 RESCATES

CINE PUBLICITARIO ARGENTINO 1960-1980

Argentine Advertising Cinema 1960-1980

Para los espectadores de los aos sesenta y setenta, un atracti-
vo extra de ir al cine era ver en colores las publicidades que se
emitan cotidianamente en la TV en blanco y negro. Esos aos
fueron vitales para el desarrollo y crecimiento del cine publici-
tario local, una poca en la que la produccin flmica generada
por la publicidad fue el sostn de la industria.
A partir de la donacin de los archivos de los Laboratorios Alex y
DiMar, el Museo del Cine de Buenos Aires, junto a Ral Manrupe
como investigador y especialista, est relevando y clasificando
centenares de latas con negativos de spots de aquellos aos.
Se trata de un patrimonio audiovisual invalorable y restaura-
do digitalmente: un desfile de estrellas internacionales, desde
Charles Aznavour hasta Topo Gigio, y canciones que vuelven a
la memoria, en pantalla grande, color y blanco y negro. Museo
del Cine
The commercials in color that were regularly broadcasted in
black and white TV were a plus of going to the cinema in the
60s and 70s. Those years were vital to the development and
growth of local advertising cinema, a time when film production
created by advertising was a pillar to the industry.
Thanks to the donation of archives from the Alex and Di Mar
Laboratories, the Buenos Aires Film Museum, together with re-
searcher and specialist Raul Manrupe, is revealing and organiz-
ing hundreds of cans with negative prints of ad spots from that
era. This is an invaluable audiovisual heritage that was digitally
restored: a parade of international stars, from Charles Azna-
vour to Topo Gigio, and songs that trigger memories in the big
screen, in color and black and white. MDC

Argentina / 40 / DM
Contacto / Contact
Museo del Cine Pablo Ducrs Hicken
T +54 11 4303 2882 +54 11 4303 2883
E museodelcine@buenosaires.gob.ar
W buenosaires.gob.ar/museodelcine

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 349

FOCOS Y HOMENAJES
FOCUS & HOMAGES
PETER BOGDANOVICH
FOCOS Y HOMENAJES / FOCUS & HOMAGES
PETER BOGDANOVICH
Cuando el ao pasado se estren en la Argentina Terapia
en Broadway, muchos sentimos alegra por la vuelta a la
actividad y al esplendor de uno de los grandes directores
que brillaron de forma constante en el cine de los setenta
y luego se hicieron intermitentes. A la vez, sentimos esa
tristeza del tiempo perdido, del cine no hecho, de tantas
pelculas ms de Peter Bogdanovich que podramos haber
visto si su ritmo de la primera mitad de los setenta se
hubiera mantenido. La pelcula anterior de Bogdanovich,
Tom Petty and the Heartbreakers: Runnin Down a Dream,
fue exhibida en el Bafici hace ya ocho aos. Hacia atrs,
el hiato entre Runnin Down a Dream y El miau del gato:
seis aos cubiertos por algunos telefilms y algn captulo
de serie. Y ocho aos antes, en el siglo pasado, Una cosa
llamada amor, que nunca pudimos ver en cine, como nos
pas con Noises Off y Texasville. Y los ochenta: los con-
flictos y las tragedias, y ese par de grandes pelculas lla-
madas Nuestros Amores Tramposos y su verdadera Ms-
cara, la de las canciones de Springsteen, que conocimos
mucho despus. Ms atrs, sus primeros fracasos en los
setenta con pelculas que hoy atesoramos. Y ms atrs to-
dava sus grandes xitos iniciales con pelculas que, claro,
tambin atesoramos. Y antes estuvo el cine grande de Ho-
llywood del que Peter se nutri, del que nos cont con su
cine y tambin con sus libros imprescindibles. Y no vamos
ms para atrs. Volvamos al presente, al sueo cumplido:
Peter Bogdanovich est entre nosotros. Javier Porta Fouz
354 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
When Shes Funny That Way got released in Argentina
last year, many of us felt joy by the return to activity
and splendor of one of the great directors that shone
constantly in the cinema of the 70s and then became
intermittent. At the same time, we felt that sadness of
lost time, of unmade films, of the many more films by
Peter Bognadonich we could have seen if he had kept
the pace he had in the first half of the 70s. Bogdanov-
ichs previous film, Tom Petty and the Heartbreakers:
Runnin Down a Dream, was shown at Bafici eight years
ago. Before that, there was the hiatus between Runnin
Down a Dream and The Cats Meow: six years covered
by some TV movies and an episode from a series. And
eight years before, in the previous century, there was
The Thing Called Love, which we werent able to see
in theaters, something that also happened with Noises
Off and Texasville. And the 80s: the conflict and the
tragedies, and that great pair of films that were They
All Laughed and his true Mask, the one with the Spring-
steen songs, which we found about much later. Earlier,
his first failures from the 70s with films we now trea-
sure. And even earlier, his great hits with films that, of
course, we also treasure. And before that, there were
the great Hollywood films that influenced Peter, about
which he told us through his films and also through his
essential films. And we wont be looking back anymore.
Lets return to present day, to the dream fulfilled: Peter
Bogdanovich is among us. JPF

MRALOS MORIR
Targets
Un hombre va a una armera para comprar municiones. Planea
asesinar a varios transentes y automovilistas desde una terra-
za. A la noche, se instala detrs de la pantalla de un autocine y
comienza a apuntarles a las personas que asistieron a la funcin.
Con Roger Corman haba trabajado en ngeles salvajes Hice
bastante en esa pelcula, pero era de Roger. Sin embargo, Mralos
morir fue mi primera pelcula. Todo se dio de forma un tanto com-
plicada. Boris Karloff le deba dos das de trabajo a Roger, y este
ltimo me pregunt si poda comprometerme a filmar 20 minutos
con Karloff en dos das, usar 20 minutos de escenas de Karloff de
una pelcula anterior, El terror, y despus filmar otros 40 minutos
en diez das con otros actores, y as tener una nueva pelcula de
Karloff de 80 minutos. As fue como empez todo, lo cual no era
muy prometedor. Pero se nos ocurrieron algunas buenas ideas, y
eventualmente escribimos un guion que le gust mucho a Roger,
y termin consiguiendo a Karloff por tres das ms. La pelcula me
cre una carrera, a pesar de no haber hecho demasiado dinero;
mucha gente la vio, en general cosech buenas crticas y me
permiti filmar La ltima pelcula. Peter Bogdanovich
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PETER BOGDANOVICH
A man goes to an armory to buy ammunition. He plans to as-
sassinate several pedestrians and drivers from a rooftop. At
night, he locates himself behind the screen of a drive-in cin-
ema and starts to point at the people watching the show.
I had worked previously on The Wild Angels with Roger Corman...
It was quite a bit of work I did on that picture, but it was Rogers
picture. However, Targets was my first picture. It was compli-
cated, how it all came about. Roger was owed two days work
by Boris Karloff, and he asked me if I would take on the assign-
ment of shooting 20 minutes with Karloff in two days, taking 20
minutes of Karloff footage from a previous film, The Terror, and
then shooting with other actors for 10 days to shoot another 40
minutes, so Id have a new 80-minute Karloff film. That was how
it started out, which was not very promising. But we came up
with some good ideas, and eventually wrote a script Roger liked
a lot, and ended up getting Karloff for three more days. It created
a career for me, even though it didnt make a lot of money a lot
of people saw it, and it got good reviews, generally speaking, and
it made it possible for me to make The Last Picture Show. PB
Estados Unidos - US, 1968 / 90 / DCP / Color
Ingls - English
D, G, P: Peter Bogdanovich F: Laszlo Kovacs DA: Polly Platt
S: Verna Fields CP: Saticoy Productions I: Tim OKelly, Boris Karloff,
Arthur Peterson, Monty Landis, Nancy Hsueh
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com
355
PETER BOGDANOVICH
LA LTIMA PELCULA
The Last Picture Show
El director nos sumerge en el universo juvenil, ms precisa-
mente en el despertar sexual de un grupo de adolescentes
(entre ellos, los jvenes y hermossimos Cybill Shepherd y Jeff
Bridges) en una pequea ciudad de Texas en los cincuenta.
Lo que realmente quera hacer en La ltima pelcula era con-
centrarme en los actores, sacar excelentes actuaciones de
ellos. Otra razn por la que quera hacerla era que, luego de
leer la novela de Larry McMurtry, no saba cmo filmarla. Me
intrigaba mucho el hecho de resolver el problema de convertir
esta historia en una pelcula. Me gustaba que fuera sobre un
mundo del que no saba nada. Fue todo un desafo hacer una
pelcula sobre lo que, para m, era bsicamente otro pas. Larry
escribi un borrador que yo luego reescrib. El problema con
Larry es que no le gusta el libro tanto como a m. Se la pasaba
corrigiendo el guion. Yo le deca: Larry, eso no est en el libro.
Y l me responda: No, esto no es mejor. Y yo: No, es peor,
y volva a cambiarlopor como estaba en el libro. Es raro corregir
al propio autor. El guion era bsicamente el libro sin algunas
partes. Podramos haber hecho que la pelcula durara una hora
ms. Peter Bogdanovich
356 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The director immerses us in the universe of youth, more
specifically in the sexual awakening of a group of teenagers
(among them, the young and beautiful Cybill Shepherd and Jeff
Bridges) in a small Texan city during the fifties.
What I really wanted to do on The Last Picture Show was con-
centrate on the actors, to really get good performances out of
them. One other reason why I wanted to make the picture was
because after reading the novel by Larry McMurtry I didnt know
how to film it. Solving the problem of how to turn this story into
a film was very intriguing to me. I liked the fact that it was about
a world I knew nothing about. It was quite a challenge to make
a film about what was, basically, a foreign country to me. Larry
wrote a draft, which I rewrote. The trouble with Larry was that he
really didnt like his book as much as I did. He kept changing the
script. I would say, Larry, this wasnt in the book. He said, No,
its better. I said, No, its worse, and I would change it back to
the book. Its funny correcting the writer himself. The script re-
ally was pretty much the book with parts cut out. We really could
have made the picture another hour longer. PB
Estados Unidos - US, 1971 / 118 / DCP / B&N / Ingls - English
D: Peter Bogdanovich G: Larry McMurtry, Peter Bogdanovich
F: Robert Surtees E: Donn Cambern DA: Polly Platt
P: Stephen J. Friedman PE: Bert Schneider CP: BBS Productions
I: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ben Johnson,
Cloris Leachman
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com

QU PASA, DOCTOR?
Whats Up, Doc?
Un tmido profesor conoce de casualidad a una chica con la
que vivir las situaciones ms disparatadas y, sin saber cmo,
ambos se vern envueltos en un robo de joyas. Un homenaje a
las comedias de enredos de los aos treinta y cuarenta.
La pelcula termin siendo la segunda ms exitosa del ao,
despus de El padrino, que yo haba rechazado porque no que-
ra hacer una pelcula sobre la mafia. Hubo una proyeccin algo
pomposa de Qu pasa, doctor? un tiempo antes del estreno, y
la gente pareca resistirse a ella. No estaban lo suficientemente
sueltos como para una pelcula as. Todos estaban sentados y
preguntndose: Qu es esto?. Haba habido algunas risas,
pero no fue tan bien recibida como s lo fue luego con el p-
blico. A los diez minutos, John Cassavetes se par, en plena
pelcula, se dirigi al pblico y grit, bien fuerte: No puedo
creer que l est haciendo esto!. El pblico se vino abajo en
risas, y de ah en adelante les encant. John y yo nos hicimos
amigos despus de eso. Fue mi crtica favorita de cualquiera
de las pelculas que hice. Peter Bogdanovich
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PETER BOGDANOVICH
A shy professor accidentally meets a young girl with whom
hell live the most hilarious situations and, without knowing
how, they will both become involved in a jewelry theft. A trib-
ute to the screwball comedies of the 30s and 40s.
The film ended up being the second-biggest hit of the year, after
The Godfather, which actually I turned down because I didnt
want to make a Mafia film. There was an early, glitzy screening
of Whats Up, Doc? and the audience seemed to be resisting it.
They werent loose enough for a film like that. Its like everyone
was sitting there asking themselves, What is this? There had
been some laughs but it wasnt as warmly received as it would
later be by the public. About ten minutes in, John Cassavetes
stands up, in the middle of the picture, turns to the audience and
shouts, very loudly, I cant believe hes doing this! The place
broke up, and from then on they loved it. John and I became
friends after that. Its my favorite review of any film of mine. PB
Estados Unidos - US, 1972 / 94 / DCP / Color
Ingls - English
D, P: Peter Bogdanovich G: Buck Henry, David Newman, Robert Benton
F: Laszlo Kovacs E: Verna Fields DA: Polly Platt S: Les Fresholtz
CP: Saticoy Productions I: Barbra Streisand, Ryan ONeal,
Madeline Kahn, Kenneth Mars, Austin Pendleton
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com
357
PETER BOGDANOVICH
LUNA DE PAPEL
Paper Moon
Una de las marcas de Bogdanovich: mirar al cine clsico des-
de el presente. La pelcula se propone como el viaje inicitico
entre un hombre y una nia (Ryan y Tatum ONeal, padre e hija
en la ficcin y en la realidad) por los Estados Unidos durante
la Gran Depresin.
Trabajamos mucho para lograr el clima de poca perfecto para
Luna de papel. Filmamos por todo Kansas y unas semanas en
Missouri. Creo que fue la mejor actuacin de Ryan ONeal: esa
risa maravillosa que se le ocurri, ese chisporroteo, fue mara-
villoso. La pelcula era originalmente de Paramount, y la iba a
dirigir John Huston con Paul Newman y su hija como protago-
nistas. Luego quisieron que la dirigiera yo, pero yo no quera ha-
cerla con Paul. Quera hacerla con Ryan, y eso fue lo que pas.
Y luego tuve que impedir que l matara a su hija. Le gritaba:
Maldicin, Tatum, pods aprenderte tus dilogos? No voy a
hacerlo otra vez. Lo hicimos veintiocho veces! Estuve en cinco
mil episodios de Peyton Place y nunca pas por algo as. Y esto
pas en una ruta en el medio de Kansas, con nada a nuestro
alrededor excepto Kansas y un auto con una cmara y unos
doce tipos colgados. Peter Bogdanovich
358 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
One of Bogdanovichs trademarks: looking at classic film from
the present. The film is presented as a voyage of discovery be-
tween a man and his daughter (Ryan and Tatum ONeal, father
and daughter both in fiction and real life) across the United
States during the Great Depression.
We worked really hard to get the period-feel in Paper Moon
right. We shot all over Kansas and a few weeks in Missouri.
I think its the best work Ryan ONeals done. That wonderful
laugh he came up with, that cackle, was just wonderful. Para-
mount owned the property originally and had John Huston lined
up to direct with Paul Newman and his daughter to star. Then
they wanted me to direct, but I didnt particularly want to do it
with Paul. I wanted to do it with Ryan, so thats what happened.
And then, I just had to keep him from killing his daughter. He will
shout Goddamn it, Tatum, would you learn your lines? Im not
going to do it again. Weve done it twenty-eight times! I did five
thousand Peyton Places, and I never went through anything like
this. And this happens on a road in the middle of Kansas with
nothing anywhere but Kansas and a car with a camera on it and
about twelve people hanging on. PB
Estados Unidos - US, 1973
102 / DCP / B&N / Ingls - English
D, P: Peter Bogdanovich G: Alvin Sargent F: Laszlo Kovacs
E: Verna Fields DA: Polly Platt S: Frank Warner, Kay Rose
CP: Saticoy Productions I: Ryan ONeal, Tatum ONeal,
Madeline Kahn, John Hillerman, P. J. Johnson
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com
W parkcircus.com

TOM PETTY AND THE HEARTBREAKERS:
RUNNIN DOWN A DREAM
Bogdanovich se propone cubrir toda la carrera de Tom Petty
and the Heartbreakers, una banda con cuarenta aos de tra-
yectoria. El documental descifra la clave de su xito y entrega
cuatro horas repletas de momentos inolvidables.
Senta que estbamos contando la historia de un tipo y su ban-
da durante un perodo de treinta aos. Qu estaban haciendo?
Msica. Bueno, de qu manera podra hacerse la obra defini-
tiva sobre la banda sin mostrar el resultado de lo que estaban
haciendo? En algunos casos, senta que las interpretaciones pe-
dan a gritos ser vistas de principio a fin, porque eso es una parte
importante de lo que Tom es. No solo son geniales las canciones;
l es un intrprete increble. Cuando lo ves cantando o ves a su
banda tocando sus instrumentos, te interesa porque llegs a co-
nocerlos. Es como si estuvieras haciendo una pelcula sobre un
gran cineasta y decs que es un gran cineasta; tens que mostrar
algunas secuencias. A veces tens que dejar que la cosa fluya
para saber con qu ests lidiando. Eso fue lo que sent. No se
puede hacer una pelcula sobre un hombre y su msica sin mos-
trar mucha de esa msica. Si te gusta el rock and roll, no veo por
qu iras a resistirte. Quera que fuera realmente comprensible,
que todo estuviera ah. Peter Bogdanovich
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PETER BOGDANOVICH
Bogdanovich commits to covering the entire career of Tom Pet-
ty and the Heartbreakers a band with a 40-year career span.
The documentary deciphers the key to their success and deliv-
ers four hours filled with unforgettable moments.
I felt that here we are telling the story of a guy and his band over
a period of 30 years. What are they doing? Theyre making mu-
sic. Well, how can we really do a definitive work about this band
without showing the result of what they were doing? In some
cases, I felt the performances warranted being seen from begin-
ning to end because thats part of what Tom is. The songs arent
just great, hes a terrific performer. When you see him singing
or the band playing their instruments, youre interested because
you get to know them. Its like if youre making a film about a
great filmmaker and you say hes a great filmmaker, you have
to show some sequences. You gotta let them run sometimes
so you can see what youre dealing with. Thats how I felt. You
couldnt really make a movie about a man and his music without
showing a lot of the music. If you like rock and roll, I dont see
how you can resist it. I really wanted it to be comprehensive,
the full monty. PB
Estados Unidos - US, 2007
239 / DM / Color & B&N / Ingls - English
D: Peter Bogdanovich F: Ted Hayash, David Sammons,
Patrick Alexander Stewart E: Bill Berg-Hillinger, Jeffrey Doe,
John Gutierrez, Mary Ann McClure S: Brian Riordan, Ryan Ulyate
M: Tom Petty and The Heartbreakers P: Skot Bright, George Drakoulias
Contacto / Contact
East End Management. Evan Bright
E eb@eastendmgmt.com
359
PETER BOGDANOVICH
TERAPIA EN BROADWAY
Shes Funny That Way
Tras siete aos sin filmar, el regreso de Bogdanovich rene a
grandes comediantes como Owen Wilson y Jennifer Aniston
para narrar, a travs de dilogos rpidos y un juego de en-
cuentros y desencuentros, una historia sobre el teatro y las
coincidencias de la vida en la ciudad.
Al comienzo, el ttulo de esta pelcula era Ardillas para las nue-
ces, pero hubo que cambiarlo porque demasiada gente pensa-
ba que era una pelcula para chicos y que no se poda traducir
o algo as, pero esa frase aparece en Cluny Brown, de Ernst
Lubitsch, como una manera de decir que est bien hacer las
cosas de la manera menos usual. Bueno, el punto de partida fue
un incidente que me sucedi en Singapur mientras haca Saint
Jack. Usamos varias prostitutas en la pelcula; llegu a conocer
un par, y les di dinero adems de su salario para ayudarlas a
volver a casa y salir del negocio. Luego de eso sola pensar que
sera gracioso hacer una comedia sobre un tipo que le diera
dinero extra a una prostituta, que ella deje de serlo y se meta en
problemas por ello. No saba qu iba a pasar despus, pero as
empez todo. Peter Bogdanovich
360 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
After seven years without filming, Bogdanovichs return re-
unites two great comedians like Owen Wilson and Jennifer
Aniston in order to tell, through rapid-fire dialogue and a game
of ups and downs, a story about theater and the coincidences
of life in the city.
We started with the title Squirrels to the Nuts, which got
changed because too many people thought it was a kids pic-
ture and you couldnt translate it or whatever, but its in Ernst
Lubitschs Cluny Brown as a way of saying that the unusual way
of doing something is good. Anyway, the starting point was an
incident that happened to me in Singapore on Saint Jack. We
actually used several escorts in the picture, and I got to know
and like a couple of them and gave them money beyond their
salary to help them go home and get out of the business. After
that I always thought it might be funny to make a comedy about
a guy who gives an escort extra money to stop being an escort
and then gets in trouble because of it. I didnt really know what
would happen, but thats where it started. PB
Estados Unidos / Alemania - US / Germany, 2014
93 / DCP / Color / Ingls - English
D: Peter Bogdanovich G: Peter Bogdanovich, Louise Stratten
F: Yaron Orbach E: Nick Moore, Pax Wasserman DA: Jane Musky
S: Damien Canelos M: Edward Shearmur P: Logan Levy, Holly Wiersma,
Louise Stratten, George Drakoulias PE: Noah Baumbach, Cassian Elwes,
Robert Ogden Barnum, Jacob Pechenik, Andy Neuberger, Brice Sanderford,
Jeff Rice, Christa Campbell, Lati Grobman CP: Lagniappe Film
I: Imogen Poots, Owen Wilson, Kathryn Hahn, Rhys Ifans, Jennifer Aniston
Contacto / Contact
Leda Films. Fernando Paduczak
T +54 11 4788 5215 W ledafilms.com
 PREMIERE LATINOAMERICANA / LATAM PREMIERE

PETER BOGDANOVICH

ONE DAY SINCE YESTERDAY: PETER

BOGDANOVICH & THE LOST AMERICAN FILM
Un da desde ayer: Peter Bogdanovich y la pelcula americana perdida

El asesinato de la actriz Dorothy Stratten mientras l editaba
Nuestros amores tramposos fue una experiencia devastadora
en la vida de Bogdanovich. Este documental reconstruye esa
historia de amor y de fe en el poder curativo del cine.
Para m, la historia de la devocin de Bogdanovich por su pelcula
Nuestros amores tramposos y por la fallecida Dorothy Stratten es
una de las historias ms hermosas del mundo del cine. Bogdano-
vich ama a las mujeres y ama las pelculas, y en esta las combin
perfectamente, solo para que luego un loco le robara la mujer que
ms amaba y le hiciera perder la pelcula que ms amaba. Ms madman and the film he loved most, lost to him before a
adelante logr ponerse en forma nuevamente, y tanto su gran pe-
lcula como su incomparable talento fueron reconocidos. Quera
hacer una pelcula sobre la manera en que recordamos las cosas;
sobre la naturaleza efmera del pasado y cmo lo recordamos
mediante diapositivas, postales, trozos de pelcula y fotos, y a la
vez quera rendirle homenaje a la pelcula en s. De alguna mane-
ra, Peter est atado a esta. As que mi misin fue hacer este film
que le recordara al pblico que, incluso cuando se cree que las
cosas se olvidaron, cuando hay arte y amor verdadero, las cosas
no pueden perderse realmente. Bill Teck
The murder of actress Dorothy Stratten while he was editing
They All Laughed was a devastating experience in Bogdanov-
ichs life. This documentary rebuilds that story of love and be-
lief in the healing power of cinema.
For me, the story of Peter Bogdanovichs devotion to his film
They All Laughed and to the late Dorothy Stratten is one of
the most beautiful stories in all of cinema. Bogdanovich loves
women and movies, and combined both perfectly in They All
Laughed, only to have the woman he loved most stolen by a
return to form and redemption for both his great film and his
staggering talent. I wanted to make a film about the way we
remember things and the transient nature of the past and how
we remember it, using slides, postcards, pieces of film and pho-
tos as well an homage to the love of film itself. In a way, Peter is
tied to his movie. So my mission was to make a film to remind
an audience that even when things are thought to be forgotten,
when theres art and true love, things cant be truly lost. BT

Estados Unidos - US, 2014 / 97 / DM / Color / Ingls - English

D, F, S: Bill Teck E: Bill Berg-Hillinger M: Jorge Gomez, Luis Beyra,
Fernando Zulueta P: Victor Barroso, Brett Ratner PE: Fernando Zulueta,
Ignacio Zulueta, James Packer, Marie-Therese Guirgis, Adam Bardach
CP: Via Verita, RatPac I: Jeff Bridges, Quentin Tarantino, Wes Anderson,
Peter Bogdanovich, Ben Gazzara
Contacto / Contact
Via Verita, RatPac. Bill Teck
T +1 786 246 0437 E bill.teck@gmail.com
W brettratner.com/blog
onedaysinceyesterdaybogdanovich.blogspot.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 361

PAULO BRANCO
FOCOS Y HOMENAJES / FOCUS & HOMAGES
PAULO BRANCO
Paulo Branco es parte fundamental del cine que nos form
y que, ante todo, nos dio felicidad plena como cinfilos.
Productor/artfice de gran parte de las pelculas que hemos
visto en ediciones anteriores del Bafici y que nos acompa-
an siempre, con su matriz en Portugal (y decir eso es
nombrar a Joo Csar Monteiro, Manoel de Oliveira, Pedro
Costa) pero extendindose ms all de sus fronteras,
supo sumar a su familia a Raoul Ruiz, Chantal Akerman,
Jerzy Skolimowski, Werner Schroeter, entre tantos otros.
Una lista interminable de autores, algunos con una obra
slida detrs y otros que fueron debutantes, a quienes
Branco supo apostar, corrindose de toda comodidad y
asumiendo los riesgos que implica pensar una produccin
con criterio autoral, haciendo del cine una aventura, por
fuera de instituciones consagratorias. Obras sumamente
dismiles llevan la firma de Branco, compartiendo, en ese
rasgo comn, la idea de una puesta en escena sin con-
cesiones y un estar en el cine que desestima todo canon.
Este homenaje, sucinto ante una obra inabarcable, reco-
ge algunas de sus pelculas ms recientes, a la vez que
revisita otras que siempre, en cada nuevo visionado, pa-
recen proyectarse desde el futuro. La celebracin de un
cine que en su singularidad afirma y expande el mundo
a su paso. Magdalena Arau
364 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Paulo Branco is an essential part of the cinema weve
learned from and made us absolutely happy cinephiles.
He is a producer/promoter of many of the films weve
seen in previous editions of Bafici and stayed with us
forever, with a base in Portugal (which means Joo
Csar Monteiro, Manoel de Oliveira, Pedro Costa) but
extending beyond its borders and including Raoul Ruiz,
Chantal Akerman, Jerzy Skolimowski, Werner Schroeter,
and many others in his family. An endless list of auteurs,
some of them with a solid body of work and others who
were only debutants, who Branco was quick enough to
support, moving away from his comfort zone, assuming
the risks of producing art house films, and turning cine-
ma into an adventure out of the structure of consecrating
institutions. Branco has signed his name on films that
are hugely different from each other, yet share an idea
of relentless artistic setting and a status that remains
indifferent to the canon.
This tribute, as restricted as it is within his infinite body
of work, picks up some of his most recent films, and
revisits others that seem to be projecting here from the
future. Its the celebration of a cinema whose unique-
ness affirms and expands the world around it. MA

COSMOS
Dos personajes quieren alejarse un poco de sus vidas. Dejando
atrs exmenes y trabajo, Witold y Fuchs son huspedes en un
lugar que, esperan, pueda darles tranquilidad. Sin embargo, se
topan con un espacio inquietante que se ir convirtiendo en
todo lo que no esperaban encontrar.
Witold y Fuchs buscan alojamiento en una casa de campo. Una
serie de hallazgos, que bien podran ser inconexos (o incluso,
tambin, no existir), se revelan ante ellos como los puntos de
una trama macabra. Sus pesquisas delirantes incluyen recolec-
cin de pruebas y descubrimientos a cada paso: las bocas que
se acoplan, los ahorcados, las lneas que atraviesan los cuar-
tos trazando flechas. Gombrowicz construy su novela policial
como una mquina que crea su mundo a medida que avanza,
caminando a ciegas, hacindose a s misma en los lmites del
lenguaje. Imgenes-literatura que haran pensar que todo in-
tento de transposicin es un salto al vaco. La pelcula recupera
ese vrtigo en una coreografa catica de cuerpos en sospecha
y movimiento permanente, muecas desopilantes, msica y co-
rridas sin freno. Magdalena Arau
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PAULO BRANCO
Two characters want to get away from their lives for a bit. Wi-
told and Fuchs leave their exams and jobs aside and settle in a
place that hopefully will provide them with a quiet time. How-
ever, they end up in a disturbing place that will progressively
turn into all the things they didnt expect to find.
Witold and Fuchs look for accommodation at a country house.
A series of findings that may very well be incoherent (or maybe
even unreal) are revealed to them as elements of a dark plot.
Their crazy investigations include collecting evidence, and con-
stant findings: complementing mouths, hanged people, and
lines going across rooms like arrows. Gombrowicz built his
crime novel like a machine that creates its universe as it moves
forward, blindly, shaping itself in the limits of language. Image-
literature that would make us believe any transposition attempt
is a jump from a cliff. The film recovers that vertigo in a chaotic
choreography of suspected bodies in permanent motion, hilari-
ous faces, music, and endless running. MA
Francia / France, 2015 / 93 / DCP / Color / Francs - French
D, G: Andrzej Zulawski F: Andr Szankowski E: Julia Gregory
DA: Paula Szabo S: Jean-Paul Mugel, Thomas Robert, Nicolas dHalluin
M: Andrzej Korzynski P: Paulo Branco PE: Ana Pinho Moura
CP: Alfama Films Production, Leopardo Filmes I: Sabine Azma,
Jean-Franois Balmer, Jonathan Genet, Johan Libreau, Victoria Guerra
Contacto / Contact
Alfama Films. Andrea Dos Santos
T +33 786 559 223
E alfamafilms@orange.fr ~ andrea.alfamafilms@orange.fr
W alfamafilms.com ~ cosmos-lefilm.com
365
PAULO BRANCO
LASTRAGALE
Astragal
El astrgalo
Una noche de abril de 1957, Albertina, de 19 aos, se escapa
de la prisin donde cumple una condena por robo. En la huida
se rompe un hueso del pie llamado astrgalo. Ir de escondite
en escondite, luchando por mantenerse en libertad.
Aunque Sy busque emular el tono y la esttica de la Nouvelle Va-
gue con una rica fotografa en blanco y negro y guios a Vivir su
vida y Disparen sobre el pianista, LAstragale es ms que nada
una obra del siglo XXI. Si bien no se cambian detalles del mate-
rial de base, que tiene 50 aos, el hecho de que Albertine tenga
un pasado poscolonial adquiere un nuevo significado luego de
Charlie Hebdo. El acoso por parte del Estado a ciudadanos arge-
linos llena las calles del Pars de Sy, donde Albertine huye luego
de escapar de prisin. El ttulo viene del nombre de un hueso del
tobillo que Albertine se rompe al fugarse de prisin. Si bien el
rengueo resultante se convierte en el atributo fsico principal del
personaje, es en sus cimientos emocionales donde ella lucha por
mantener una apariencia de normalidad. Adam Batty
366 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
One night in April 1957, 19-year-old Albertina escaped prison
where she was serving a sentence for robbery. While escaping,
she breaks an anklebone called astragalus. She will jump from
one hiding spot to another, struggling to remain free.
While Sy may seek to emulate the mood and aesthetics of the
Nouvelle Vague, with rich black and white photography and
nods to the likes of Vivre sa vie and Shoot the Piano Player,
Astragal is very much a piece of work of the 21st century. While
details remain unchanged from the 50 year-old source material,
the fact that Albertine has of a post-colonial background takes
on a second meaning post-Charlie Hebdo. State harassment of
Algerian residents fills the streets of Sys Paris, to which Alber-
tine has fled following her escape from prison. The title comes
from the name of a bone in the ankle, the part of the body that
Albertine breaks during her prison escape. While the resulting
limp becomes the characters key physical attribute, its in her
emotional foundation where she struggles and fights to maintain
a semblance of normality. AB
Francia - Francia, 2015 / 96 / DCP / B&N
Francs - French
D: Brigitte Sy G: Brigitte Sy, Serge Le Peron F: Frederic Serve
E: Julie Dupre DA: Franoise Arnaud S: Luc Meilland,
Melissa Petitjean M: Batrice Thiriet P, PE: Paulo Branco
CP: Alfama Films Production, France 3 Cinma I: Leila Bekhti,
Reda Kateb, Esther Garrel, Jocelyne Desverchere, India Hair
Contacto / Contact
Alfama Films. Andrea Dos Santos
T +33 786 559 223
E andrea.alfamafilms@orange.fr W alfamafilms.com

POSTO AVANADO DO PROGRESSO
An Outpost of Progress
Puesto avanzado del progreso
Dos oficiales portuguesas llegan a un puesto remoto de co-
mercio de marfil en el Congo, donde deben lograr que el nego-
cio fluya nuevamente luego de la muerte del ex jefe de esta-
cin. Sin embargo, los trabajadores contratados hacen poco y
nada para adquirir nuevas reservas.
La impactante fotografa de Posto avanado do progresso ba-
sada en perfectos difuminados, claroscuros, texturas de todo
tipo, ngulos con ojo de pez y un largo etctera distorsiona la
percepcin de la ficcin con un solo propsito: marcar las dife-
rencias entre el hombre blanco y el brbaro a partir de recursos
visuales y sonoros. Unas diferencias que, evidentemente, ridicu-
lizan a los imperialistas portugueses hasta caricaturizarlos, pero
no los convierten en despiadados sujetos deshumanizados.
Vieira da Silva desmitifica la pica del colonialismo poblndolo
con holgazanes, borrachos o enfermos incapaces de apreciar la
belleza natural e indgena que los rodea. Como dir el hombre-
leopardo que acecha a los portugueses: las historias de cacera
siempre glorifican al cazador. Carlota Mosegu
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
PAULO BRANCO
Two Portuguese officers arrive to a remote ivory trade post in
Congo, where they must get the business flowing again after
the death of the former station chief. But the hired workers do
very little to find new reserves.
The striking cinematography in An Outpost of Progress based
on perfect blurs, chiaroscuros, textures of all kinds, fish-eye an-
gles and so on distorts the perception of fiction with only one
purpose: to mark the differences between the white man and
the barbarian through visual and sound resources. Differences
that, of course, ridicule the Portuguese imperialists to the point
of caricature, but do not turn them into merciless dehumanized
subjects. Vieira da Silva demystifies the epic of colonialism by
populating it with idlers, drunks or sick people incapable of ap-
preciating the natural, indigenous beauty that surrounds them.
As the leopard man lurking the Portuguese would say: hunting
stories always glorify the hunter. CM
Portugal, 2016 / 121 / DCP / Color
Portugus - Portuguese
D, G: Hugo Vieira da Silva F: Fernando Lockett E: Paulo Mil Homens
DA: Isabel Branco S: Pierre Tucat P: Paulo Branco CP: Alfama Films,
Leopardo Filmes, Repblica Filmes I: Nuno Lopes, Ivo Alexandre,
David Caracol, Ins Helena, Antnio Mpinda
Contacto / Contact
Alfama Films. Andrea Dos Santos
T +33 786 559 223
E andrea.alfamafilms@orange.fr
W alfamafilms.com
367
PAULO BRANCO

EL ESTADO DE LAS COSAS

Der Stand der dinge / The State of Things

El singular rodaje de una remake de un clsico de Roger Corman

se detiene en Portugal por falta de pelcula, y su director va a
Los ngeles a buscar al inhallable productor. Un film-exorcismo
de Wenders, que vena de la mala experiencia con Francis Ford
Coppola en Hammett. El estado de las cosas, una de las mejo-
res pelculas del alemn, tiene en su ficha tcnica una cantidad
inusual de grandes nombres. Por ejemplo, Robert Kramer en el
guion, Samuel Fuller como actor, Jim Jarmusch en la msica,
Joo Canijo como asistente y, claro, nuestro homenajeado Paulo
Branco como productor asociado. Javier Porta Fouz
The singular shooting of a remake of a Roger Corman classic
is interrupted in Portugal because they run out of film, and the
director flies to Los Angeles to find his slippery producer. An ex-
orcism-film by Wenders, who was coming from a bad experience
with Francis Ford Coppola in Hammett. The State of Things, one
of the finest films from this German director, includes an unusual
amount of big names in its crew list. Like Robert Kramer on the
script, Samuel Fuller as an actor, Jim Jarmusch in the score,
Joo Canijo as an assistant and, of course, our honored Paulo
Branco as an associated producer. JPF
Alemania / Portugal / Estados Unidos
Germany / Portugal / US, 1982 / 121
DCP / B&N / Ingls / Alemn - English / German
D: Wim Wenders G: Wim Wenders, Robert Kramer, Josh Wallace
F: Henri Alekan, Fred Murphy, Martin Schfer E: Jon Neuburger,
Peter Przygodda, Barbara von Weitershausen DA: Z Branco
M: Jim Jarmusch, Jrgen Knieper P: Chris Sievernich, Paulo Branco,
Pierre Cottrell I: Isabelle Weingarten, Rebecca Pauly, Jeffrey Kime,
Geoffrey Carey, Samuel Fuller
Contacto / Contact
The Festival Agency. Sarah Cagneaux
T +33 9 5490 4863
E sarah@thefestivalagency.com
W thefestivalagency.com

OS CANIBAIS
The Cannibals
Los canbales

En 1988, Manoel de Oliveira acomete el que posiblemente sea

el film ms irreverente de su carrera, Os canibais, adaptacin
operstica de una novela de lvaro Carvalhal con libreto de
Joo Paes. Lus Miguel Cintra y Leonor Silveira (en su primera
colaboracin con el maestro y a sus 17 aos) protagonizan
Portugal / Francia / Alemania / Italia / Suiza
esta stira salvaje, un sainete aristocrtico con los ingredientes Portugal / France / Germany / Italy / Switzerland, 1988
necesarios: un perverso vizconde, un novio abandonado, una 90 / 35mm / Color / Portugus - Portuguese
inocente muchacha, ms (un extra) un clmax que envidiara
Brian Yuzna. Fran Gayo D: Manoel de Oliveira G: Manoel de Oliveira, Joo Paes
F: Mrio Barroso E: Manoel de Oliveira, Sabine Franel
In 1988, Manoel de Oliveira makes what is possibly the most DA: Lus Monteiro S: Joaquim Pinto M: Joo Paes
irreverent film in his career, The Cannibals, an operatic adapta- P: Paulo Branco PE: Paulo De Sousa CP: Gemini Films,
tion of a novel by lvaro Carvalhal with screenplay by Joo Filmargem, La Sept I: Lus Miguel Cintra, Leonor Silveira,
Paes. Lus Miguel Cintra and Leonor Silveira (in her first col- Diogo Dria, Oliveira Lopes, Pedro T. da Silva
laboration with the master, and at 17) star in this wild satire, an
Contacto / Contact
aristocratic farce with all the necessary ingredients: a perverse
Cinemateca Portuguesa. Sara Moreira
viscount, an abandoned boyfriend, an innocent girl, plus (an
W cinemateca.pt
extra) a climax Brian Yuzna would envy. FG

Cortesa de Cinemateca Portuguesa / Courtesy of Cinemateca Portuguesa.

368 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 PAULO BRANCO

OSSOS
Bones
Huesos

1997. Vanda Duarte aparece por primera vez en una pantalla.

Su presencia en Ossos genera una onda expansiva que trans-
forma de modo irreversible el cine de Pedro Costa y reanima la
mitomana cinfila de los aos noventa. Aqu Vanda interpreta
a un personaje escrito, y, de las tensiones entre personaje y Portugal / Francia / Dinamarca
actriz, entre las convenciones de la ficcin y las calles de Fon- Portugal / France / Denmark, 1997 / 94
tainhas, surgir un film traumado y fascinante que anticipa un 35mm / Color / Portugus - Portuguese
nuevo cine en el que la palabra documental forma parte de
una lengua muerta. Fran Gayo D, G: Pedro Costa F: Emmanuel Machuel E: Jackie Bastide
DA: Z Branco S: Jean Dubreuil P: Paulo Branco
1997. Vanda Duarte appears on a screen for the first time. CP: Madragoa Filmes, Gemini Films, Zentropa Productions
Her presence in Ossos causes a ripple effect that irreversibly I: Vanda Duarte, Nuno Vaz, Mariya Lipkina,
transforms Pedro Costas cinema and reanimates the cinephile Isabel Ruth, Ins de Medeiros
mythomania of the 90s. Here, Vanda plays a written character,
Contacto / Contact
and, from the tensions between character and actress, be-
Cinemateca Portuguesa. Sara Moreira
tween the conventions of fiction and the streets of Fontainhas,
W cinemateca.pt
appears a traumatized, fascinating film that anticipates a new
cinema in which the word documentary is part of a dead
language. FG
Cortesa de Cinemateca Portuguesa / Courtesy of Cinemateca Portuguesa.

AS BODAS DE DEUS
The Spousals of God
Las bodas de Dios

Joao de Deus, el libertino ms singular, el coleccionista de

vellos de pubis, ex heladero, vagabundo arruinado, pone
fin a su triloga con este hermoso delirio que comienza con
un parque, un mensajero divino, una valija llena de dinero
y una muchacha a punto de ahogarse. Lo que sigue es el
Francia / Portugal - France / Portugal, 1999 / 150 / 35mm
deambular de un De Deus que por capricho divino pasa de Color / Francs / Portugus - French / Portuguese
linyera a aristcrata revolucionario y que, tras dar con sus
huesos en la crcel, recibe la redencin del sentimiento D, G: Joo Csar Monteiro F: Mrio Barroso E: Joaquim Pinto
ms teraputico posible: el amor. Fran Gayo DA: Alfredo Furiga S: Joaquim Pinto P: Paulo Branco
CP: Madragoa Filmes I: Rita Duro, Joo Csar Monteiro,
Joao de Deus, the most singular libertine, the collector of pubic Joana Azevedo, Jos Airosa, Manuela de Freitas
hair, the former ice-cream man, the ruined drifter, ends his tril-
ogy with this beautiful delirium that begins with a park, a divine Contacto / Contact
messenger, a suitcase full of money, and a girl about to drown. Cinemateca Portuguesa. Sara Moreira
What follows next is De Deus wandering around, going from W cinemateca.pt
homeless to revolutionary aristocrat on Gods whim, and end-
ing up in jail, only to find redemption from the most therapeutic
feeling of all: love. FG

Cortesa de Cinemateca Portuguesa / Courtesy of Cinemateca Portuguesa.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 369

PAULO BRANCO

COMBAT DAMOUR EN SONGE

Love Torn in Dream
Combate de amor en sueo

Todo parte de un hecho verdico: la historia de un joven bi-

bliotecario que a principios del pasado siglo viaja al norte de
Chile acompaando a un buscador de tesoros. All ambos en-
cuentran una serie de textos que documentan la existencia de
una antigua hermandad de piratas cratas. Esta ancdota le
sirve a Ruiz para construir un caleidoscopio en el que coexisten
nueve narraciones diferentes (y otras tantas pelculas) y donde
la imaginacin desborda los lmites de la coherencia narrativa.
Fran Gayo
Everything is based on a true event: the story of a young li-
brarian who travels to Northern Chile with a treasure hunter
in the early years of the last century. They will find there a
series of texts that prove the existence of an ancient brother-
hood of anarchist pirates. Ruiz uses this anecdote to make a
kaleidoscope where nine different stories coexist (as well as
nine films) and where imagination overflows the limits of nar-
rative conscience. FG
Francia / Portugal - France / Portugal, 2000
122 / 35mm / Color & B&N
Francs / Portugus / Espaol - French / Portuguese / Spanish
D, G: Raoul Ruiz F: Accio de Almeida E: Valeria Sarmiento
DA: Isabel Branco S: Georges-Henri Mauchaunt M: Jorge Arriagada
P: Paulo Branco PE: Laurent Baudens, Valentina Merli
CP: Gemini Films, Madragoa Films I: Melvil Poupaud,
Elsa Zylberstein, Lambert Wilson, Christian Vadim, Diogo Dria
Contacto / Contact
Le Bureau Films. Aurore Auguste
T +33 140 333 387
E aurore@lebureaufilms.com
W lebureaufilms.com

MAANA NOS MUDAMOS

Demain on dmnage
Tomorrow We Move

Muchas veces injustamente soslayada en los repasos de la fil-

mografa de Chantal Akerman, Maana nos mudamos es una
comedia farsesca no exenta de oscuridades entre muebles,
cajas y desorden. Charlotte (Sylvie Testud en uno de sus mejo-
res roles) es una escritora de novelas erticas que no encuentra
Francia / Blgica - France / Belgium, 2004
la clave de qu es ertico. Su madre, la profesora de piano Ca- 110 / 35mm / Color
therine (Aurore Clment), se muda con ella, y con ella va tam- Francs - French
bin su piano. Entre ellas y con ellas, una serie de personajes,
o de personajes-neurosis, que se mueven como si estuvieran D: Chantal Akerman G: Chantal Akerman, Eric De Kuyper
en un musical aunque no haya canciones. Javier Porta Fouz F: Sabine Lancelin E: Claire Atherton DA: Christian Marti
S: Thomas Gauder M: Sonia Wieder-Atherton P: Paulo Branco
Much overlooked when reviewing Chantal Akermans filmogra- CP: Gemini Films, Paradise Films I: Sylvie Testud, Aurore Clment,
phy, Tomorrow We Move is a farcical comedy with a few dark Jean-Pierre Marielle, Natacha Rgnier, Lucas Belvaux
moments among furniture, boxes and disorder. Charlotte (Syl-
Contacto / Contact
vie Testud in one of her better roles) is en erotic fiction novelist
Cinematek
who cant find the key to eroticism. Her mother, piano teacher
E access@cinematek.be
Catherine (Aurore Clment), moves in with her, and so does
W cinematek.be
her piano. Between and with them are a series of characters,
or characters-neuroses, that move as though they were in a
musical, even though there arent any songs. JPF

370 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

RICK ALVERSON
FOCOS Y HOMENAJES / FOCUS & HOMAGES
RICK ALVERSON
Hombres que trabajan, duermen o comen solos; hom-
bres solos que hablan por telfono, como si quisieran
aferrarse a algo que vibra a travs del aire y que ofrece
una especie de constancia de que del otro lado de la
lnea hay un atisbo de esperanza o una promesa latente
de salvacin; hombres que suean con una vida que no
saben cmo es y empiezan a construir casas con sus
manos, o se sientan en soledad a tomar el desayuno, o
se bajan del auto en la ruta slo para quedarse un rato
viendo el paisaje yermo: inmenso, hermoso y algo triste.
Rick Alverson, el hombre de Richmond, Virgina, Estados
Unidos, clase 1971, hace pelculas bellas, a veces algo
tristes; por momentos imbuidas de un espritu un poco
aos setenta como si, por ejemplo, el tono de desen-
canto, escepticismo, pero tambin de piedad de Two-
Lane Blacktop (Monte Hellman, 1971: referencia porosa
pero insistente) se impusiera con engaosa gentileza
en varias de sus imgenes, menos como un espejo que
como una fatalidad. Al igual que con su banda de rock,
Spokane, el director parece explorar lo que hay ms all
del estruendo del mundo concebido como un apndice
inerte del espectculo y bajo el imperativo del xito o la
promocin social. Con pudor, con temblor y con un amor
insensato por sus personajes, las pelculas de Alverson
nos recuerdan la existencia de un cine posible: aquel
cuyos presupuestos no son los de palmear la espalda del
espectador, sino los de exhibir los resquicios a travs de
los cuales se alcanza a adivinar la presencia de un vaco
sin nombre. David Obarrio
372 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Men who work, sleep, and eat alone. Lonely men talking
on the phone as if they wish to cling on to something that
vibrates through the air and offers a kind of assurance
that the other side of the line holds a hint of hope or a
latent promise of salvation. Men who dream of a life they
dont know nothing about and start building homes with
their own hands, or sit alone to have breakfast, or get out
of their cars in the middle of the road just to spend some
time looking at a deserted, immense, beautiful land-
scape. Rick Alverson, the man from Richmond, Virginia,
United States, class of 1971, makes beautiful, somewhat
sad films. At times, they are immersed in a sort of 70s
spirit, as if, for example, the disappointed, skeptical, and
merciful tone from Two Lane Blacktop (Monte Hellman,
1971: a porous yet insistent reference) was imposed on
his films with a deceitful kindness, more like mirror than
a fatality. Just as he does in his rock band Spokane, the
director seems to explore whatever there is beyond the
obligation of success or social climbing. With modesty,
tremor, and an mindless love for its characters, Alver-
sons films remind us of the possibility of a certain kind
of cinema: one whose premise is not to pad the viewers
backs, but to display the cracks through which you can
notice the presence of a nameless void. DO

THE BUILDER
El constructor
Un carpintero de origen irlands se encuentra superado por
una fatiga inexplicable e intenta recuperar el espritu de los
primeros pobladores de Estados Unidos para salvarse.
Cosas que aprendimos de Spokane, la banda de Rick Alverson:
la melancola no es tristeza; la bsqueda artstica puede tener
muchas aristas, pero es la insistencia la que delinea la consis-
tencia; construir una casa con las propias manos como hizo
el tro con la casa en la que grabaran Little Hours, su ltimo
disco hasta el momento no es solo el acto en s, sino todo lo
que implica llevarlo o no a cabo. En The Builder, su primer
largometraje en busca de nuevos horizontes, lejos de la msica,
Alverson decide pararse en ese lugar exacto en el que una for-
ma de entender el mundo define la obra, y ubica la mirada en
los entretiempos, esos en los que sucede mucho ms de lo que
creemos y que, sin duda alguna, son los que ms nos definen.
El realismo de los entretiempos. De eso se trata The Builder.
Pablo Conde
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
RICK ALVERSON
A carpenter of Irish descent finds himself overcome by inex-
plicable fatigue and tries to regain the spirit of the first US
settlers in order to save himself.
Things weve learned from Spokane, Rick Alversons band:
melancholy isnt sadness; the artistic search can have many
aspects, but its insistence that outlines consistency; building
a house with ones own hands as the trio did with the house
where they would record Little Hours, their latest album is not
just the act in itself, but also everything it takes to fulfilling it or
not. In The Builder, his first feature in search of new horizons,
away from music, Alverson decides to stand at the exact spot
where a way of understanding the world defines ones work,
and places his gaze on the moments in between, those in which
what happens is more important than we think it is, which are
undoubtedly those that define us the most. The realism of the
moments in between. Thats what The Builder is about. PC
Estados Unidos - US, 2010 / 92 / DM / Color / Ingls - English
D, F, E: Rick Alverson G: Rick Alverson, Colm OLeary
M: Champ Bennett, Rick Alverson P: Courtney Bowles, Rick Alverson
PE: Chris Swanson, Darius Van Arman, Ben Swanson, Jonathan Cargill
CP: Made Bed Productions, Jagjaguwar I: Colm OLeary, Liza Kate,
Courtney Bowles, Robert Donne, Eamon OLeary
Contacto / Contact
Made Bed Productions. Rick Alverson
T +1 804 502 8084
E idleness@me.com
W madebedproductions.com
373
PREMIERE LATINOAMERICANA / LATAM PREMIERE
RICK ALVERSON
NEW JERUSALEM
Nueva Jerusaln
Sean es un inmigrante irlands que regresa de Afganistn y se
hace amigo de Ike, un evangelista que se esfuerza por asegu-
rar su salvacin.
La relacin entre un hombre de fe y un hombre repleto de du-
das es el corazn de esta segunda pelcula del rockero Rick
Alverson. Will Oldham, a quien deberan conocer al menos
como Bonnie Prince Billy, interpreta un redneck evangelista
que trabaja en una gomera con el personaje del aqu tambin tire repair shop with the character played by screenwriter Colm
guionista Colm OLeary, un traumado inmigrante irlands que
est de regreso tras combatir en Afganistn. Alverson respeta
ambos puntos de vista sin necesidad de esconder basura bajo
la alfombra y consigue momentos enormes cuando esas mira-
das opuestas sobre el mundo intentan reconciliarse. El cineasta
deja de lado todo tipo de revelaciones en una pequea pel-
cula que pasa por otro lado, y tal vez sea por eso que prefiere
concentrarse en distintos objetos o pequeos gestos, a los que
dedica numerosos planos detalle. Nazareno Brega
374 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Sean is an Irish evangelist who returns from Afghanistan
and befriends Ike, an evangelist who works hard to secure
his salvation.
The relationship between a man of faith and a man filled with
doubt is the heart of this sophomore effort from rocker Rick
Alverson. Will Oldham, whom you should at least know as Bon-
nie Prince Billy, plays an evangelist redneck who works in a
OLeary, a traumatized Irish immigrant whos back home after
having fought in Afghanistan. Alverson respects both points of
view without the need to hide dirt under the rug, and achieves
some great moments when those opposing views on the world
try to reconcile. The filmmaker leaves any kind of revelations
aside in a small film thats about something else, and perhaps
that is why it prefers to concentrate on different objects or small
gestures, to which it devotes many extreme close-ups. NB
Estados Unidos - US, 2012 / 94 / DM / Color
Ingls - English
D, F, E: Rick Alverson G: Rick Alverson, Colm OLeary
S: Andrew Uvarov M: Champ Bennet, Robert Donne P: Rick Alverson,
Courtney Bowles PE: Chris Swanson, Darius Van Arman, Ben Swanson,
Jonathan Cargill CP: Factory 25, Jagjaguar, The Made Bed Productions
I: Will Oldham, Colm OLeary
Contacto / Contact
Factory 25. Matt Grady
T +1 646 249 8247
E matt@factory25.com W factory25.com

THE COMEDY
La comedia
Swanson est por heredar los bienes de su padre moribundo.
Mientras tanto, pasa sus das vagando sin rumbo con amigos.
The Comedy toca una fibra oscura detrs del humor, que re-
suena mucho despus de haber terminado.
Una comedia extraa, un film incmodo, una propuesta con un
sentido del humor inclasificable. Cuando alguien habla de una
pelcula en esos trminos, casi siempre exagera: los intentos
de encarar el gnero desde otro ngulo son pocos y superfi-
ciales. Pero hay excepciones, y la ms clara de esta dcada es
The Comedy. El tercer largometraje de Rick Alverson es todo
eso porque prueba cosas nuevas y literalmente destroza otras.
Rompe el relato, a los personajes y el confort del espectador
sin dejar de tenerlo en cuenta ni un segundo. The Comedy es
seca, arisca y molesta. Pero su agresividad no es gratuita. Al-
verson esquiva la provocacin barata al convertir cada ofensa
en una invitacin a reflexionar sobre la condicin humana, y
hace que nos preguntemos si, pese al horror, hay que seguir
riendo. Desire de Fez
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
RICK ALVERSON
Swanson is about to inherit the estate of his dying father.
Meanwhile, he spends his days wandering around with his
friends. The Comedy taps into a dark fiber of comedy, which
still echoes long after the end.
A strange comedy; an uncomfortable film; a piece with an un-
classifiable sense of humor. When someone describes a film
this way, theyre exaggerating almost every time: the attempts
at addressing the genre from a different angle are scarce and
superficial. But there are exceptions, and The Comedy is this
decades clearest one. Rick Alversons film is all that, because
it tries new things, and literally destroys other ones. It breaks
the story, the characters, and the comfort of the viewer, without
ever neglecting him nevertheless. The Comedy is dry, apathetic,
and annoying. But its aggressiveness is not gratuitous. Alverson
dodges cheap provocation by turning each offense into an invi-
tation to reflect on the human condition, and makes us wonder
whether we should keep laughing despite the horror. DdF
Estados Unidos - US, 2012 / 94 / DM / Color / Ingls - English
D, G: Rick Alverson F: Mark Schwartzbard E: Michael Taylor
DA: Shawn Annabel S: Allison Jackson P: Mike S. Ryan
PE: Darius Van Arman CP: Greyshack Films, Glass Eye Pix Production
I: Tim Heidecker, Eric Wareheim, Jeff Jensen
Contacto / Contact
Stray Dogs. Nathan Fischer
T +33 65994 1284
E nathan@stray-dogs.com
375
RICK ALVERSON
ENTERTAINMENT
Entretenimiento
Luego de cada show, un comediante de stand-up empren-
de un viaje para reencontrarse con su hija, de la que est
distanciado.
Sobre la faz de la Tierra, el cine narrativo agoniza a punta de
pistola televisiva; cada vez son ms los giros de guion, finales
de temporadas y dems artificios que la pantalla chica exprime
como una naranja seca. El cine se defiende con lo nico que no
se le puede quitar: los climas, el mood, el phasing, la fotografa
y el tono. As, varios nuevos directores encabezan la trinchera
del buen gusto. Entre ellos est Alverson, que con su cuarta
pelcula llena la pantalla de estilo y corazn. Entertainment es
una road movie, pero tambin es una comedia existencial, con
dilogos cassavetianos y con un elenco totalmente afinado para
esta verdadera gema de 2015. Sebastin De Caro
376 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
After every show, a stand-up comedian takes a trip to reunite
with her daughter, since theyve grown apart.
Narrative cinema is agonizing at TV gunpoint all over the Earth.
Were seeing more and more plot twists, season finales, and
other artifices the home screen is squeezing like a dried up or-
ange. Cinema defends itself with the one thing they cant take
away from it: the atmospheres, the mood, the phasing, cinema-
tography, and tone. So, several novel filmmakers are leading the
defense of good taste. Alverson is one of them, and his fourth
film fills up the screen with style and heart. Entertainment is a
road movie, but its also an existential comedy with Cassavet-
tian dialogues and a cast that is fully in tune, in this true gem
of 2015. SDC
Estados Unidos - US, 2015 / 104 / DCP / Color
Ingls - English
D: Rick Alverson G: Rick Alverson, Gregg Tarkington, Tim Heidecker
F: Lorenzo Hangerman E: Michael Taylor, Rick Alverson
DA: Bart Mangrum S: Gene Park M: Robert Donne P: Ryan Zacarias,
Ryan Lough, George Rush, Brooke Bernard, Alex Lipschultz,
Patrick Hibler CP: Nomadic, Independence Pictures, Epic Pictures
Group, Jagjagiwar, Made Bed Productions, Magnolia Pictures I: Gregg
Turkington, John C. Reilly, Tye Sheridan, Michael Cera, Amy Seimetz
Contacto / Contact
Epic Pictures Gropu. Shaked Berenson
T +1 323 207 4170
E shaked@epic-pictures.com
W epic-pictures.com
BOB BYINGTON
FOCOS Y HOMENAJES / FOCUS & HOMAGES
BOB BYINGTON
En sus pelculas que transcurren en Austin, Texas
Bob Byington les hace decir a sus personajes cosas
incmodas, muchas veces hirientes, y hay una habitual
sensacin de molestia con el prjimo con un montn
de prjimos que atraviesa el ambiente. A pesar de
esto, los personajes a veces buscan trabajo, compa-
a y/o relaciones ms estables. Cuando los obtienen,
comienzan a sabotearlos de manera asordinada pero
constante, con bombas emocionales que se arrojan sin
anestesia y sin pasin en la superficie. Personajes in-
satisfechos, desencajados, con neurosis constantes: la
base ideal para estas comedias sardnicas en las que
podemos ver a alguien arrojando tazas al piso en me-
dio de la lluvia pero con paraguas (en RSO [Registered
Sex Offender]), o sentados con un gato encima dicien-
do que prefieren diez minutos de vida del felino que
un ao de vida de su interlocutor humano (el propio
Byington en Harmony and Me). En el cine de Bying-
ton las explosiones de furia tienen energa controlada,
limitada: sus personajes, entre ellos una serie de slac-
kers que saltaron o quizs llegaron caminando al
mumblecore, estn mayormente sentados y acostados,
o recostados contra una pared. Con estos elementos,
un timing extraordinariamente preciso, una duracin
de alrededor de una hora y cuarto para cada pelcula y
actores que entienden perfectamente la propuesta, el
cine de Byington se presenta, con sigilo, como uno de
los eslabones fundamentales de la comedia americana
texana contempornea. Javier Porta Fouz
378 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In his films which take place in Austin, Texas Bob
Byington lets his characters say awkward and often
hurtful things, and theres usually an overall sensation
of being annoyed by people. Despite this, characters
seek jobs, company and/or stable relationships. Once
they get this, they start sabotaging them quietly and
constantly, with emotional bombs thrown violently and
dispassionately on the surface. Unsatisfied, deranged
characters with constant neurosis: this is the ideal
base for these sardonic comedies that can feature
someone throwing cups to the floor, under the rain but
with an umbrella (in RSO [Registered Sex Offender]),
or someone sitting with a cat on his lap saying they
prefer ten minutes of living like a feline than a whole
year as the human hes talking to (Byington himself in
Harmony and Me). In Byingtons cinema, the explosions
of fury have a controlled, limited energy: his charac-
ters, among them a series of slackers who jumped or
maybe walked to mumblecore, are mostly seated, in
bed, or leaned up against a wall. With these elements,
an extraordinary precise timing, a duration of ap-
proximately 75 minutes for each film, and actors who
completely understand the lay out, Byingtons cinema
stands, quietly, as one of the essential links of contem-
porary American Texan comedy. JPF

RSO (REGISTERED SEX OFFENDER)
ASR (Atacante sexual registrado)
Esta es la historia de la rehabilitacin poco probable de un
delincuente sexual puesto en libertad condicional que trata de
reintegrarse a la sociedad.
Qu es aquello que convierte a alguien en un sex offender en
Austin, Texas, realmente deja de importar: una vez que se entra
en el registro, ya se es portador de la letra escarlata de la ac-
tualidad. Este falso documental sigue la vida de un ex convicto
por crimen sexual y sus das de libertad condicional, en los que
deber presentarse en el vecindario, asistir a las sesiones de
terapia grupal y realizar trabajo comunitario, acompaado siem-
pre de un desfile de personajes inslitos. Con la participacin
de algunos de los conos de la generacin mumblecore como
Richard Linklater o Andrew Bujalski, el principal desafo de este
antihroe ser generar empata con su entorno o, al menos, con
los productores de la misma pelcula; aunque el humor no es
algo que siempre caiga bien. Mora Snchez Viamonte
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
BOB BYINGTON
This is the story of the unlikely rehabilitation of a sex offender
who is released on parole and tries to reinsert himself into
society.
What makes someone become a sex offender in Austin, Texas,
actually ceases to matter: once you go on record, youre al-
ready the bearer of todays scarlet letter. This mockumentary
follows the life of an ex-convict for sex crimes and his days on
probation, in which he must introduce himself in the neighbor-
hood, attend group therapy sessions and do community service,
always in the company of some unbelievable characters. With
the appearance of a few icons of the mumblecore generation
like Richard Linklater and Andrew Bujalski, the main challenge
of this antihero will be to build empathy with his environment or,
at least, with the very producers of the film; even though humor
isnt something thats always well-received. MSV
Estados Unidos - US, 2008
80 / DM / Color / Ingls - English
D, G, F: Bob Byington E: Peggy Chen DA: Katy Pine
S: Alex Karpovsky P: Peggy Chen, Kristen Tucker
PE: Chris McKenna, Andrew Byington CP: King Pictures
Contacto / Contact
Harmony and Me. Bob Byington
T +1 415 992 2072
E robert.byington@gmail.com
W facebook.com/RSO-Registered-Sex-Offender
379
BOB BYINGTON
HARMONY AND ME
Harmony y yo
Uno de los primeros relatos que formaron parte de la corriente
mumblecore. Cuenta la vida de Harmony, un msico treintae-
ro que trata de superar una ruptura amorosa.
Bob Byington dice que su cuarta pelcula es una comedia fsica
sobre el anhelo, pero Roger Ebert es ms preciso al definirla
como una pelcula opuesta a Despertando la vida, de Richard
Linklater. Harmony (personaje inspirado, segn el propio cineas-
ta, en la imagen que tena de Harmony Korine) deambula por
Austin, a un ao de su separacin, sin poder superar su soledad
y aburriendo con su cuestionable desdicha a un variopinto gru-
po de familiares y amigos, verdadero corazn de la pelcula. El
desencanto constante se apodera del impvido rostro del pro-
tagonista Justin Rice lder de la banda Bishop Allen y una de
las mltiples conexiones del cine de Byington con el de Andrew
Bujalski. En Harmony and Me, Byington demuestra muchas
influencias de los directores aqu mencionados, pero, gracias
a la traccin del recurrente humor sin sentido, se libera por
completo de la solemnidad de todos ellos. Nazareno Brega
380 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
One of the first stories from the mumblecore trend. Its the
story of Harmony, a thirty year-old musician trying to overcome
a breakup.
Bob Byington says his fourth film is a physical comedy about
longing, but Roger Ebert delivers a more precise definition, de-
scribing it as the opposite of Richard Linklaters Waking Life.
Harmony (who according to the director was inspired in his
view of Harmony Korine) wanders around Austin a year after
his breakup, without being able to move past his loneliness,
and his questionable unhappiness bores out a diverse group
of family and friends, who are the true core of the film. The
constant disappointment takes over the still face of protago-
nist Justin Rice leader of the band Bishop Allen and one of
the multiple connections between the cinemas of Byngton and
Andrew Bujalski. In Harmony and Me, Byngton shows many of
his influences, from the directors mentioned above, but thanks
to the traction of constant senseless humor, the film frees itself
completely from solemnity. NB
Estados Unidos - US, 2009 / 75
DM / Color / Ingls - English
D, G: Bob Byington F: Jim Eastburn E: Frank V. Ross, Jacob Vaughan
DA: Yvonne Boudreaux S: Chris Keyland, Keith Poulson
M: Dominique Preyer P: Jennifer Hallmark, Kristen Tucker
PE: Stuart Bohart, Anish Savjani CP: Film Science
Contacto / Contact
Harmony and Me. Bob Byington
T +1 415 992 2072
E byingtonassistant@gmail.com
W harmonythemovie.com

SOMEBODY UP THERE LIKES ME
Le gusto a alguien de ah arriba
Un maletn con un contenido misterioso le ofrece a Max la ju-
ventud eterna, mientras los envejecidos personajes a su alre-
dedor tropiezan con casualidades entrelazadas a la perfeccin
a partir de vietas animadas creadas por Bob Sabiston.
El peor error que pods cometer es creer que ests vivo cuando
en realidad ests dormido en la sala de espera de la vida, ase-
gura Guy Forsyth en Despertando a la vida, de Richard Linkla-
ter. Por su parte, Sal (Nick Offerman) proclama algo similar en
Somebody Up There Likes Me: Creo que es gracioso que todos
pensemos que nunca nos vamos a morir. Las simetras no son
casuales. Bob Byington convoc a otro Bob (Sabiston, colabo-
rador de Linklater) para los interludios animados de su film, con
episodios dignos de lo mejor que ha dado el mumblecore. El film
alude al paso del tiempo sin la necesidad de mostrar secuelas
en los rostros de sus personajes. Y es imposible no percibir
la correlacin entre la hilarante apata de esos individuos y la
propia personalidad de un cineasta que abiertamente rebate
la nocin de rodaje como un instante de goce: El cine no es
placentero, es la defensa de una idea. Milagros Amondaray
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
BOB BYINGTON
A briefcase with a mysterious content provides Max with eter-
nal youth, while the old characters around him stumble with
perfectly combined coincidences out of animated vignettes
created by Bob Sabiston.
The worst mistake you can make is to think youre alive, when
youre really just asleep in lifes waiting room, assures Guy For-
syth in Richard Linklaters Waking Life. Sal (Nick Offerman), in
turn, proclaims something similar in Somebody Up There Likes
Me: I think its funny we all sort of think were not gonna die.
The symmetries arent casual. Bob Byington recruited another
Bob (Sabiston, Linklaters collaborator) for the films animated
interludes, with episodes that rank among the best mumblecore
has given us. The film alludes to the passing of time without the
need of showing consequences in the characters faces. And its
impossible not to perceive the correlation between the hilarious
apathy of these individuals and the very personality of a film-
maker that openly refutes the notion of a shoot as an instant of
joy: Film isnt pleasant, its the defense of an idea. MA
Estados Unidos - US, 2012 / 76
DM / Color / Ingls - English
D, G: Bob Byington F: Sean Price Williams E: Frank V. Ross
DA: Leila Dallal, George Dishner S: Greg Armstrong, Gopal Bidari
M: Chris Baio P: Hans Graffunder, Nick Offerman, Marla Quintana
PE: Stuart Bohart, Morgan Coy, Christos V. Konstantakopoulos,
Brenda Mitchell CP: Somebody the Movie LLC I: Nick Offerman,
Keith Poulson, Jess Weixler, Stephanie Hunt, Marshall Bell
Contacto / Contact
Harmony and Me. Bob Byington
T +1 415 992 2072 E robert.byington@gmail.com
W somebodythemovie.com
381
PREMIERE LATINOAMERICANA / LATAM PREMIERE
BOB BYINGTON
7 CHINESE BROTHERS
7 hermanos chinos
Jason Schwartzman y su perro protagonizan la historia de
un slacker que, luego de ser despedido de su trabajo, pasa la
mayor parte de su tiempo borracho y buscando un propsito
en la vida.
Los perros han seducido a la cmara con su magnetismo ani-
mal desde los inicios del cine. A pesar de que en estos 121
aos muchos directores han construido grandes planos pelu-
dos, fue Aki Kaurismki quien se gan la corona como mejor re-
tratista de canes. Bob Byington, con 7 Chinese Brothers, arrib
decidido a quitarle el ttulo. El coprotagonista de esta ficcin es
un bulldog francs de ojos grandes que con un simple pestaeo
consigue hacerle sombra al amo y seor de la comedia indie:
Jason Schwartzman. Juntos se pasean sin correa por el relato,
dispuestos a trotar por la Tierra sin la ambicin de encontrar un
hueso ni una moneda; dormir una siesta abrazados en el silln
es una recompensa suficiente. Suele decirse que el perro es el
mejor amigo del hombre; en este caso es al revs: el hombre es
el mejor amigo del perro. Maia Debowicz
382 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Jason Schwartzman and his dog star in the story of a slacker
who gets fired from his job and spends most of his time drunk,
looking for a purpose in life.
Ever since the beginning of cinema, dogs have seduced cam-
eras with their animal magnetism. Despite the fact that in these
past 121 years several directors have built great hairy shots,
it was Aki Kaurismki who won the title of best dog portrayer.
With 7 Chinese Brothers, Bob Byington comes in, determined
to snatch the title. The co-protagonist of this fiction film is a
French bulldog with big eyes, who only needs a simple blink
to overshadow the lord and master of indie comedies: Jason
Schwartzman. Together, they move without a leash through the
story, ready to walk the Earth without any ambition of finding
bones or a coin; take napping together on the couch is enough
reward. People usually say dogs are mans best friends, but
here its the other way around: man is dogs best friend. MD
Estados Unidos - US, 2015 / 76 / DM / Color
Ingls - English
D, G: Bob Byington F: Adam Ginsberg E: Robert Greene,
Leah Marino DA: Jake Kuykendall S: Greg Armstrong M: Chris Baio
P: Molly Christie Benson, Seana Flanagan, Nancy Schafer
PE: Christos V. Konstantakopoulos, Kevin Corrigan CP: 8750 Films,
Faliro House Productions I: Jason Schwartzman, Stephen Root,
Olympia Dukakis, Alex Ross Perry, Jonathan Togo
Contacto / Contact
Harmony and Me. Bob Byington
T +1 415 992 2072 E robert.byington@gmail.com
W facebook.com/7chinesebrothers
FABIN BIELINSKY
FOCOS Y HOMENAJES / FOCUS & HOMAGES
FABIN BIELINSKY
Existe una confusin. En muchos ciclos y libros diver-
sos sobre Nuevo Cine Argentino hechos en el siglo XXI,
adentro y afuera, suelen no estar las pelculas de Fabin
Bielinsky. Quizs porque sus dos largometrajes son fuer-
temente narrativos, quizs porque est Ricardo Darn en
ambos. O porque su alcance fue masivo. O tal vez no se
incluya a Bielinsky por algo que puede causar un ex-
trao temor y rechazo: la perfeccin de su trabajo. En
los largometrajes de Bielinsky se ven certezas. Haba,
por supuesto, dudas a la hora de planear las pelculas:
es decir, trabajo, pensamiento profundo acerca de cmo
hacer las cosas, cmo escribir, cmo filmar. Bielinsky era
el artista con capacidad (auto)crtica, y pona eso a tra-
bajar a pleno antes de empezar y de terminar de filmar
y montar. En parte por eso hizo solamente dos largo-
metrajes. Y porque muri, a los 47 aos, en 2006. En
el cine de Bielinsky haba y hay capacidad para contar,
emocionar, conmover, asombrar, seducir con armas cl-
sicas pasadas por el filtro modernizador y osado del cine
americano de los aos setenta. Y eso sin dejar de hacer
cine argentino, con ethos, logos y pathos locales. Cine
argentino sin necesidad de pose, que de esta manera es
cine universal. Y es nuevo siempre lo ser porque son
films clsicos, de los que se renuevan con cada mirada.
Javier Porta Fouz
384 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
A misunderstanding exists. In many film seasons and
books about the New Argentine Cinema made in the 21st
century, in Argentina and abroad, Fabin Bielinskys films
tend to be excluded. Maybe because his two features are
strongly narrative, maybe because Ricardo Darn stars in
both of them. Or because their reach was massive. Or
maybe Bielinsky is not included due to something that
can cause a strange fear and rejection: the perfection of
his work. One sees certainties in Bielinskys features. Of
course there was doubt when planning those films: that
is, work, some deep thinking about how to do things,
how to write, how to shoot. Bielinsky was the artist ca-
pable of being (self-)critical, and worked hard on that
before starting to shoot and edit, and also before finish-
ing doing so. In part, thats why he only made two fea-
ture films. And also because he died, at 47, in 2006. In
Bielinskys cinema, there was and there is a capability to
narrate, to thrill, to move, to amaze, to seduce with good
techniques from classic films passed through the mod-
ernizing, daring filter of the American films from the 70s.
And he did all that without ceasing to be Argentinian,
with local ethos, logos and pathos. Argentinian cinema
without the need to pose, which, this way, becomes uni-
versal cinema. And its new it will always be because
they are classic films, those which renew themselves
after each viewing. JPF

LA ESPERA
The Wait
Un hombre se hospeda en una pensin donde imagina y suea
con la llegada de su enemigo, hasta que el verdugo lo despier-
ta de su sueo. Bielinsky recurre a Borges en esta adaptacin
de su cuento homnimo.
La adaptacin de Fabin Bielinsky de La espera, uno de los
cuentos de Borges reunidos en El Aleph (1949), encuentra
pronto su sistema en unas palabras del primer prrafo, donde
se dice que las cosas son arbitrarias y casuales y en cualquier
orden, como las que se ven en los sueos. Un hombre (Hctor
Bidonde) susurra el nombre de su enemigo y se interna en una
pensin a esperar el momento en que habr de matar o ser
muerto. No hay aventura ms borgeana que ese ambiente de
film noir en que unos hechos previsibles van a desencadenarse
en la oscuridad de qu mundo?, el real o el de los sueos?
Fabin Bielinsky capta la ambigedad de esa potencia, que es
una potica, y empuja suevamente a su personaje a no saber
(como tampoco sabemos nosotros) la diferencia entre dormir y
morir. Juan Jos Becerra
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
FABIN BIELINSKY
A man awaits in a boarding house, where he imagines and
dreams about the arrival of his enemy, until the executioner
wakes him up from his dream. Bielinsky draws from Borges in
this adaptation of his homonymous short story.
Fabin Bielinskys adaptation of The Wait, one of Borges short
stories compiled in The Aleph and Other Stories (1949), soon
finds its system in some words from the first paragraph, which
say that things are arbitrary and casual and in any order, as
those seen in dreams. A man (Hctor Bidonde) whispers his
enemys name and confines himself in a pension in order to wait
for the moment in which he will have to kill or be killed. Theres
no adventure more Borgean than that film noir atmosphere in
which some predictable events will unfold in the darkness of
which world? The real one or that of dreams? Fabin Bielinsky
captures the ambiguity of that potency, which is a poetics, and
softly pushes its character to not knowing (as dont we) the dif-
ference between sleeping and dying. JJB
Argentina, 1983 / 18 / DM / Color / Espaol - Spanish
D: Fabin Bielinsky G: Carlos Macchi, Fabin Bielinsky
F: Alberto Capelletti, Miguel ngel Quirs Caballero
E: Daniel Gmez P: Horacio Gmez, Graciela Astorga
CP: CERC, Instituto Nacional de Cinematografa I: Hctor Bidonde,
Guillermo Battaglia, Marta Serrano, Armando Cap, Susana M. Garca
Contacto / Contact
ENERC
T +54 11 4383 2622 +54 11 4383 6432
E info@enerc.gov.ar W enerc.gov.ar
385
FABIN BIELINSKY
NUEVE REINAS
Nine Queens
En la pera prima de Bielinsky, un estafador profesional y un
novato planean venderle unas estampillas falsas a un colec-
cionista. El xito del plan depender de la astucia de ambos
para engaarlo.
Bielinsky vena a demoler. A sus cuarenta, llevaba muchos aos
en el cine (dcadas, de hecho); tiempo en el que fue perfeccio-
nando ese reloj suizo de cine que sera Nueve reinas, su pera
prima. Lo sent a Darn y lo pas al lado oscuro. Para siempre.
Para cambiar la historia del cine latino. Para crear una pelcula
que, incluso hoy, es refulgente a la hora de mostrar el amor
de Bielinsky por el cine clsico (donde cada personaje importa,
aunque solo estornude), por capturar la idiosincrasia de Buenos
Aires (como Bogdanovich o Allen lo hacan con Nueva York) y
por ese relato embaucador, una caja china orfebre que apro-
vechaba cinefilia, hijos de puta y calle Lavalle por igual. Nueve
reinas fue el primer milagro del director que no podemos dejar
de extraar. Juan Manuel Domnguez
386 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In Bielinskys opera prima, a professional con man and a rook-
ie plan to sell a set of fake stamps to a collector. The success
of the plan will depend on their ability to trick the man.
Bielinsky came to demolish. At forty, he had been in the film
industry for many years decades, in fact, through which he
perfected that cinematic Swiss clock Nine Queens, his first fea-
ture, would become. He grabbed Darn and took him to the dark
side. Forever. In order to change the history of Latin American
film. In order to create a film that, even today, is brilliant in its
way of showing Bielinskys love for classic film (where each
character matters, even if all they do is sneeze), for capturing
the idiosyncrasies of Buenos Aires (as Bogdanvich or Allen did
with New York) and for that swindling plot, a Chinese box that
took advantage of cinephilia, sons of bitches and Lavalle street
in equal parts. Nine Queens was the first miracle from the direc-
tor we cant cease to miss. JMD
Argentina, 2000 / 115 / 35mm / Color / Espaol - Spanish
D, G: Fabin Bielinsky F: Marcelo Camorino E: Sergio Zttola
DA: Marcelo Salvioli S: Osvaldo Vacca M: Csar Lerner
P: Pedro DAngelo PE: Pablo Bossi I: Ricardo Darn, Gastn Pauls,
Leticia Brdice, Toms Fonzi, Elsa Berenguer
Contacto / Contact
Cinemateca INCAA
T +54 11 6779 0922
E cinemateca@incaa.gov.ar
W incaa.gov.ar

EL AURA
The Aura
Esteban es un taxidermista que durante aos ha planeado en
su imaginacin, una y otra vez, el robo perfecto. Tras ser in-
vitado por uno de sus amigos a cazar en los bosques del sur
argentino, se encuentra ante la oportunidad de concretar su
tan ansiada obsesin.
Nueve reinas cre un equvoco relacionado con que el cine de
Bielinsky era divertido (eso s) y alegre (eso no), porque la sim-
pata y la invencin disimulaban la oscuridad de esa historia de
lmpenes. Pero El aura es un film sobre la muerte y el deseo.
Es un policial negro, s, pero como nunca lo hubo antes: en un
escenario natural donde la imaginacin y la invencin pura se
transforman en herramientas criminales. Bielinsky logra hipno-
tizar al espectador no solo gracias al trabajo preciso de Ricardo
Darn, sino porque transforma cada elemento del paisaje en
una herramienta de taxidermista: nos dice que ese mundo est
muerto pero que el artificio (el del cine, obviamente) lo mantiene
con un ltimo aliento de vida para poder comunicarnos su exis-
tencia. El dinero es el papel que rellena este cadver exquisito,
y el crimen es el bistur que nos vaca. Leonardo DEspsito
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
FABIN BIELINSKY
Esteban is a taxidermist who spent years planning in his
head the perfect heist. When he is invited by one of his
friends to a hunt trip in the Argentine Southern forests, he
finds himself with an opportunity to have his longed obsession
come true.
Nine Queens created a misconception about Bielinskys cinema
being fun (which it is) and joyful (which its not), because the
films likeability and invention hid the darkness of that misfits
story. But The Aura is a film about death and desire. Its a film
noir story, yes, but unlike any other: in a natural setting where
imagination and pure invention become crime tools. Bielinsky
manages to hypnotize viewers not only through Ricardo Darns
thorough performance, but also because he transforms every
landscape element into a taxidermist tool: hes telling us that
this world is dead, but artifice (cinemas, obviously) is keeping
it alive with a last breath, so it can communicate its existence.
Money is here the paper that stuffs this exquisite corps, and
crime is the scalpel that empties us. LDE
Argentina, 2005 / 138 / 35mm / Color / Espaol - Spanish
D, G: Fabin Bielinsky F: Checco Varese E: Alejandro Carrillo Penovi,
Fernando Pardo S: Carlos Abbate, Jos Luis Daz M: Lucio Godoy
P: Mariela Besuievsky, Gerardo Herrero, Samuel Hadida, Pablo Bossi
I: Ricardo Darn, Dolores Fonzi, Alejandro Awada, Pablo Cedrn,
Jorge DEla
Contacto / Contact
Cinemateca INCAA
T +54 11 6779 0922
E cinemateca@incaa.gov.ar
W incaa.gov.ar
387
BRITANNIA LADO B / BRITANNIA B-SIDE
MARGARET TAIT
FOCOS Y HOMENAJES / FOCUS & HOMAGES
BRITANNIA LADO B: MARGARET TAIT
BRITANNIA B-SIDE: MARGARET TAIT
Con sus apenas 9000 habitantes, Kirkwall, la ciudad
ms poblada de las islas escocesas Orkney, tiene la par-
ticularidad de ser la patria chica del mal encarado Willie
McDougal (aka Willie, el jardinero: ver Los Simpson) y
de la cineasta a quien este ao el Bafici dedica una re-
trospectiva: Margaret Tait. Y no es caprichoso comenzar
estas lneas subrayando un emplazamiento geogrfico,
del mismo modo en que, al hablar de Ral Perrone y
su cine, es imposible no referirse a Ituzaing. Porque, si
bien hubo varios aos azarosos en la vida de Tait que la
llevaron a estudiar medicina en Edimburgo y cine en el
Centro Sperimentale di Cinematografia (adems de ser-
vir como mdica en el lejano oriente durante la Segunda
Guerra Mundial), su filmografa es un ntimo y extenso
dilogo con Kirkwall, su lugar, el espacio desde el que
Tait contempla el mundo y entiende el paso del tiempo.
Lrico, fuertemente identitario, libre e intuitivo, el cine de
Margaret Tait funciona como un inmenso patchwork de
home movies, retratos, poemas visuales y animaciones
minimalistas que atestiguan algo tan quebradizo y a
la vez colosal como el modo en que se refleja en las
personas y paisajes de nuestro entorno el transcurrir de
nuestra propia vida. Fran Gayo
Cortesa de / Courtesy of Margaret Tait and LUX, London
390 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
With its almost 9,000 inhabitants, Kirkwall, the most
populated of the Orkney islands in Scotland, has the
peculiarity of being the hometown of the ill-fated Willie
McDougal (aka Groundskeeper Willie, from The Simp-
sons) and the filmmaker to whom Bafici dedicates a
retrospective this year: Margaret Tait. And its not ca-
pricious to start these lines highlighting a geographical
position, in the same way that, when talking about Ral
Perrone and his films, its impossible not to refer to the
locality of Ituzaing. Because even though there have
been some eventful years in Taits life that drove her
to study medicine in Edinburgh and film at the Centro
Sperimentale di Cinematografa (apart from serving as
a doctor in the Far East during WWII), her filmography is
an intimate, extensive dialogue with Kirkwall, her home
and the space from where Tait contemplates the world
and understands the passing of time. Lyrical, strongly
identitary, free and intuitive, Margaret Taits films work as
an immense patchwork of home movies, portraits, visual
poems and minimalistic animation that evidence some-
thing as fragile and, at the same time, colossal as the
way in which the course of our life is reflected on the
people and landscapes of our surroundings. FG
 BRITANNIA LADO B: MARGARET TAIT
PROGRAMA / PROGRAM 1

THREE PORTRAIT SKETCHES

Tres retratos en borrador
Experimentos tempranos en retratismo, hechos en Italia: Claudia Donzelli, Saulat
Rahman y Fernando Birri.
Early experiments in portraiture, made in Italy: Claudia Donzelli, Saulat Rahman,
and Fernando Birri.
Reino Unido - UK, 1951/ 10 / 16mm / B&N / D: Margaret Tait

THE LEADEN ECHO AND THE GOLDEN ECHO

El eco de plomo y el eco dorado
Una fascinante traduccin flmica de un poema de Gerard Manley Hopkins.
An entrancing translation into film of a poem by Gerard Manley Hopkins.
Reino Unido - UK, 1955 / 7 / 16mm / Color / D: Margaret Tait

A PORTRAIT OF GA
Un retrato de Ga
Retrato de la madre de la cineasta filmado en Orkney.
Portrait of the filmmakers mother. Filmed back in Orkney.
Reino Unido - UK, 1952 / 5 / 16mm / Color / D: Margaret Tait

ON THE MOUNTAIN
En la montaa
Realizado en la Rose Street de Edimburgo, On the Mountain incluye un film previo
completO (Rose Street, 1956). El original estaba en blanco y negro, y su negativo
se perdi: por eso Tait tuvo la idea de preservarlo filmndolo en colores, en una
mirada comparativa de la misma calle en 1973.
Made in Edinburghs Rose Street, On the Mountain incorporates the whole of a
previous film (Rose Street, 1956). The original was shot in black and white, and
the negative was lost, and for this reasonTait had the idea of preserving the film
by framing it complete in color, in a contrasted look at the same street in 1973.
Reino Unido - UK, 1956 - 1973 / 35 / 16mm / Color / D: Margaret Tait

HUGH MCDIARMAID, A PORTRAIT

Hugh McDiarmaid, un retrato Contacto / Contact
Lux
Un tributo lleno de originalidad, donde el poeta aparece como un protagonista T +44 20 7503 3980 E distribution@lux.org.uk
W lux.org.uk
clido y afectuoso.
An original kind of tribute, where the poet emerges as a warm and affectionate
subject.
Reino Unido - UK, 1964 / 9 / 16mm / B&N / D: Margaret Tait

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 391

BRITANNIA B-SIDE: MARGARET TAIT
PROGRAMA / PROGRAM 2

WHERE I AM IS HERE
Donde estoy es ac
Tait naci en 1918 en Orkney, pero fue enviada a la escuela en Edimburgo
cuando tena nueve aos. Sus impresiones sobre la extraeza de ese (para ella)
nuevo mundo urbano resuenan en Where I Am Is Here, con su estructura me-
lanclica y repetitiva.
Tait was born in 1918 in Orkney, but was sent away to school in Edinburgh when
she was nine. Her impressions of the strangeness of that (to her) new urban
world are echoed in Where I Am Is Here with its melancholic, repetitive structure.
Reino Unido - UK, 1964 / 35 / 16mm / B&N / D: Margaret Tait

A PLACE OF WORK
Un lugar de trabajo
El estudio detallado de un jardn y una casa, y de lo que pudo verse y orse en
esos espacios entre junio y noviembre de 1975. La evocacin de un lugar (en
Orkney) con el que Tait tuvo vnculos toda su vida, y que termin por usarse como
lugar de trabajo.
A close study of one garden and house and what could be seen there and heard
there within the space of time from June 1975 to November 1975. An evocation
of a place (in Orkney) with lifelong associations and latterly used as a work place.
Reino Unido - UK, 1976 / 31 / 16mm / Color / D: Margaret Tait

TAILPIECE
Pieza de cola
Concebido como una coda para Place of Work, este film muestra el momento de
desocupar finalmente el que fue durante largo tiempo el hogar familiar.
Conceived as a coda to Place of Work, this film covers the time of finally emptying
a long-time family home.
Reino Unido - UK, 1976 / 10 / 16mm / B&N / D: Margaret Tait

392 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 BRITANNIA LADO B: MARGARET TAIT
PROGRAMA / PROGRAM 3

COLOUR POEM
Poemas de color
Nueve cortometrajes enlazados. Memoria, observacin casual y la inclusin de
uno en el otro.
Nine linked short films. Memory, chance observation, and the subsuming of one
in the other.
Reino Unido - UK, 1974 / 12 / 16mm / Color / D: Margaret Tait

AERIAL
Areo
Toques de imgenes elementales. Aire, agua (y nieve), tierra, fuego (y humo),
todos entran aqu.
Touches on elemental images. Air, water (and snow), earth, fire (and smoke), all
come into it.
Reino Unido - UK, 1974 / 4 / 16mm / Color / D: Margaret Tait

LAND MAKAR
Poeta de la tierra
El estudio del paisaje en una granja de Orkney, con la figura de la granjera, Mary
Graham Sinclair, muy presente en la pelcula. La granja es West Aith, a la orilla de
un lago pequeo que casi todo visitante se detiene a fotografiar o dibujar o pintar.
He filmado este bello lugar desde 1977, observando muchas de las actividades
humanas que alteran y definen cmo se ve. Margaret Tait
A landscape study of an Orkney croft, with the figure of the crofter, Mary Graham
Sinclair, very much in the picture. The croft is West Aith, on the edge of a small
loch, which almost every passing visitor stops to photograph or draw or paint. I
have been filming this beautiful place since 1977, observing many of the human
activities which alter and define how it looks. MT
Reino Unido - UK, 1981 / 32 / DM / Color / D: Margaret Tait

GARDEN PIECES
Piezas de jardn
Un conjunto de tres piezas: Alrededor del jardn es literalmente una mirada al-
rededor de un jardn, desde un punto central, repetida una y otra vez. Percas es
una pieza animada, araada y con tintes aadidos. Arboleda, el ms largo de los
tres, estudia y contempla un grupo de rboles plantados hace quiz sesenta aos
en una cantera abandonada.
A set of three pieces: Round the Garden is literally a look right round a back
garden, from a central point, repeated da capo. Fliers is an animated piece,
scratched-on, with added dyes. Grove, the longest of the three, studies and con-
templates a group of trees planted maybe sixty years ago in a disused quarry.
Reino Unido - UK, 1998 / 16 / 16mm / Color / D: Margaret Tait

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 393

BRITANNIA B-SIDE: MARGARET TAIT

BLUE BLACK PERMANENT

Azul negro permanente

Barbara Thorburn intenta comprender su pasado mediante un Barbara Thorburn tries to understand her past with a trip down
viaje por la memoria de tres generaciones de su familia. Los Memory Lane that covers three generations in her family. The
recuerdos de su madre poeta y de su abuela se entremezclan memories of her poet mother and her grandmother intermin-
con distintos perodos de su vida. gle with different periods in her life.
Cuando se estren Blue Black Permanent, Tait ya tena 74 aos, By the time Blue Black Permanent was released, Tait was al-
y en ciertos aspectos se trata de una autobiografa abstracta: ready 74, and it is in some respects an abstract autobiography:
Greta y Barbara representan la pasin de Tait por la poesa, el Greta and Barbara are representative of Taits joint passions
cine y la fotografa, mientras que Greta tambin comparte la of poetry, film and photography, while Greta shares Taits ec-
extasiada simpata que Tait siente por la naturaleza. La pelcu- static sympathy with nature. The film does not so much flout
la no elude las convenciones, sino que crea las suyas propias: conventions as create its own; flashbacks within flashbacks,
flashbacks dentro de flashbacks, varios cambios en la voz narra- several shifts of narrative voice, frequent use of ellipsis... Most
tiva, un uso frecuente de la elipsis An ms audaz es cmo el audacious is the scripts refusal to lend coherence to Barbaras
guion se rehsa a dar coherencia a la bsqueda que emprende search for her past. It remains unfinished business, like the
Barbara de su propio pasado. Termina siendo un asunto sin resol- poem left on Gretas sideboard or Barbaras outrage that her
ver, como aquel poema en el aparador de Greta o la indignacin story could be neatly compressed into something as crude or
de Barbara ante la idea de que su historia pueda ser pulcramente indelicate as a beginning, a middle and an end. MM
comprimida en algo tan crudo y poco delicado como un comien-
zo, un desarrollo y un final. Mitchel Miller

Reino Unido - UK, 1992 / 84 / 35mm / Color / Ingls - English

D: Margaret Tait G: Margaret Tait F: Alex Scott E: John MacDonnell DA:
Andrew Semple S: Neil Castell M: John Gray P: Barbara Grigor PE: Ben
Gibson, Kate Swan, Rod Stoneman CP: Viz Productions I: Celia Imrie,
Gerda Stevenson, Jack Shepherd, James Fleet, Liz Robertson

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MATTHEW BARNEY
FOCOS Y HOMENAJES / FOCUS & HOMAGES
MATTHEW BARNEY
El Ciclo Cremaster, creado y producido por Matthew Bar-
ney (Estados Unidos, 1967), es una serie de cinco pelcu-
las visualmente extravagantes realizadas de un modo no
cronolgico, pero presentadas de esta manera secuencial
a pedido del artista, por primera vez en Argentina, en la
Fundacin Proa. El ttulo del ciclo refiere al msculo que
sube y baja el sistema reproductor del macho en reaccin
a estmulos externos como la temperatura o el miedo.
Presentadas de este modo, las pelculas tienen relacin
con el tamao de la glndula gnada durante el proceso
embrionario de la diferenciacin sexual, con Cremaster 1
representando su mayor tamao y el Cremaster 5 re-
presentando su menor estado. Como la realizacin del
ciclo tom ms de ocho aos (1994-2002), a este mo-
delo biolgico se le sumaron otros paradigmas como la
historia, autobiografa y mitologa que le dieron a Barney
un material narrativo fantstico. El resultado es a la vez
hermoso y complejo, con densas capas interconectadas
por smbolos e imgenes. Guillermo Goldschmidt
CREMASTER 1
Estados Unidos - US, 1995 / 40 / D: Matthew Barney
Cremaster 1 es una revista musical ejecutada en el campo de
juego de csped artificial azul del Bronco Stadium en Boise,
Idaho, donde Barney naci. Dos dirigibles de Goodyear flotan
sobre el estadio como las aeronaves que suelen transmitir
eventos deportivos por televisin. Habitando ambos dirigibles
a la vez, Goodyear (interpretado por Marti Domination) pone
en marcha la narracin, formando diagramas que dirigen los
patrones coreogrficos creados por una troupe de bailarinas
en el campo de juego.
Cremaster 1 is a musical revue performed on the blue Astro-
turf playing field of Bronco Stadium in Boise, Idaho Barneys
hometown. Two Goodyear Blimps float above the arena like the
airships that often transmit live sporting events via television
broadcast. Inhabiting both blimps simultaneously, Goodyear
(played by Marti Domination) sets the narrative in motion, pro-
ducing diagrams that direct the choreographic patterns cre-
ated by a troupe of dancing girls on the field below.
396 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The Cremaster Cycle, created and produced by Matthew
Barney (USA, 1967), is a series of five visually extrava-
gant films made in a non-chronological way, but presen-
ted sequentially at the artists request, in Argentina for
the first time, at Fundacin Proa. The cycles title refers
to a muscle that makes the males reproductive system
go up and down in reaction to outside stimuli such as
temperature or fear. Presented this way, the films are re-
lated to the size of the gonad gland during the embryonic
process of sexual differentiation, with Cremaster 1 repre-
senting the largest size and Cremaster 5 representing
its smallest state. Because the making of the cycle took
more than eight years (1994-2002), other paradigms
were added to this biological model, such as history, au-
tobiography and mythology, which provided Barney with
some fantastic narrative material. The result is beautiful
and complex at the same time, with dense layers inter-
connected by symbols and images. GG
CREMASTER 2
Estados Unidos - US, 1999 / 79 / D: Matthew Barney
Cremaster 2 se anuncia como un western gtico que introduce
el conflicto en el sistema. A nivel biolgico, corresponde a la
fase del desarrollo del feto durante la cual comienza la divisin
sexual. En la abstraccin que hace Barney de este proceso,
el sistema intenta mantener el estado de equilibrio imaginado
en Cremaster 1. Cremaster 2 encarna este impulso regresivo
mediante su narrativa circular, que va desde 1977, el ao en
que Gary Gilmore fue ejecutado, hasta 1893, cuando Harry
Houdini, quien puede haber sido el abuelo de Gilmore, actu
en la Worlds Columbian Exposition.
Cremaster 2 is rendered as a gothic western that introduces con-
flict into the system. On the biological level it corresponds to the
phase of fetal development during which sexual division begins.
In Barneys abstraction of this process, the system tries to remain
in the state of equilibrium imagined in Cremaster 1. Cremaster
2 embodies this regressive impulse through its looping narra-
tive, moving from 1977, the year of Gary Gilmores execution,
to 1893, when Harry Houdini, who may have been Gilmores
grandfather, performed at the Worlds Columbian Exposition.

CREMASTER 3
Estados Unidos - US, 2002 / 181 / D: Matthew Barney
Cremaster 3 transcurre en Nueva York y narra la construccin
del edificio Chrysler, que es un personaje en s mismo y que
resulta ser el husped de fuerzas antagonistas interiores que
buscan acceso al proceso de trascendencia (espiritual). Estas
facciones encuentran su forma en la lucha entre Hiram Abiff o
el Arquitecto (interpretado por Richard Serra) y el Aprendiz (in-
terpretado por Barney), quienes estn trabajando en el edificio.
Cremaster 3 is set in New York City and narrates the construc-
tion of the Chrysler Building, which is in itself a character host
to inner, antagonistic forces at play for access to the process
of (spiritual) transcendence. These factions find form in the
struggle between Hiram Abiff or the Architect (played by Rich-
ard Serra), and the Apprentice (played by Barney), who are both
working on the building.
CREMASTER 4
Estados Unidos - US, 1994 / 42 / D: Matthew Barney
Cremaster 4 es la pelcula que ms se acerca al modelo biolgico
del proyecto. Este penltimo episodio describe la incesante ava-
lancha del sistema hacia el descenso, a pesar de su resistencia
a dividirse. Ambientada en la Isla de Man, la pelcula absorbe su
folklore adems de su ms reciente encarnacin como anfitriona
de la carrera de motocicletas Tourist Trophy.
Cremaster 4 adheres most closely to the projects biologi-
cal model. This penultimate episode describes the systems
onward rush toward descent despite its resistance to division.
Set on the Isle of Man, the film absorbs the islands folklore
as well as its more recent incarnation as host to the Tourist
Trophy motorcycle race.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
MATTHEW BARNEY
CREMASTER 5
Estados Unidos - US, 1997/ 54 / D: Matthew Barney
Una vez que se logra el descenso total en Cremaster 5, parece
una historia de amor trgico ambientada en el paisaje romntico
de ensueo que es la Budapest de fines del siglo XIX. La pelcula
tiene la forma de una pera lrica. Metforas biolgicas cambian
de forma para habitar estados emocionales la aoranza y la
desesperanza que se convierten en leitmotiv musicales. Los
personajes principales de la pera la Reina de Cadena (inter-
pretada por Ursula Andress) y su Diva, su Mago y su Gigante
(todos interpretados por Barney) representan de forma colec-
tiva la liberacin final prometida por el proyecto en su totalidad.
When total descent is finally attained in Cremaster 5, it is en-
visioned as a tragic love story set in the romantic dreamscape
of late 19th Century Budapest. The film is cast in the shape
of a lyric opera. Biological metaphors shifted form to inhabit
emotional states longing and despair that become musical
leitmotivs in the orchestral score. The operas primary charac-
ters the Queen of Chain (played by Ursula Andress) and her
Diva, Magician, and Giant (all played by Barney) enact col-
lectively the final release promised by the project as a whole.
397
 FOCOS Y HOMENAJES / FOCUS & HOMAGES

NASTASSJA KINSKI

398 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE


TESS
En 1979 Roman Polanski logr uno de los films ms arreba-
tadores de su carrera al adaptar la novela de Thomas Hardy
Tess of the dUrbervilles. Con la presencia de una especial-
mente sublime Nastassja Kinski, el director de Repulsin res-
tituy todos los honores merecidos a la novela de Hardy, mal-
tratada por la crtica cuando se edit, rubricando un delicado
melodrama en sordina sobre la doble moral en la Inglaterra
victoriana y la soledad a la que los seres virtuosos parecen
condenados. Fran Gayo
In 1979, Roman Polanski delivered one of the most over-
whelming films of his career when he adapted Thomas Har-
dys novel Tess of the dUrbervilles. Featuring an especially
sublime Nastassja Kinski, the director of Repulsion returned
all of its deserved honors to Hardys novel, which was at-
tacked by critics at the time of its publication, and crafted a
delicate melodrama about the double standard of Victorian
England and the loneliness that seems to be the fate of virtu-
ous beings. FG
PARS, TEXAS
Paris, Texas
Travis Henderson regresa. El desierto. El silencio. Una pelcu-
la que fue contrasea cultural, de un director que supo ser
contrasea cultural. Una pelcula americana producida por tres
pases europeos; la manera de cuidarse de Wenders despus
de Hammett. Una pelcula que permaneci icnica por ms
que Wenders dejara de ser el Wenders idolatrado. Nunca nos
olvidamos de la msica de Ry Cooder ni de la imborrable mi-
rada de Jane Henderson (Nastassja Kinski), del sweater de an-
gora, de la espalda al descubierto, de su sonrisa que, cuando
surga, iluminaba todo. Javier Porta Fouz
Travis Henderson returns. The desert. The silence. A film that
became a cultural password, from a director who was once a
cultural password. An American film produced by three Euro-
pean countries. Wenders way of being prudent after Hammett.
A film that remained iconic even after Wenders was no longer
the idolized Wenders. We never forget the music by Ry Cooder
or the indelible eyes of Jane Henderson (Nastassja Kinski), her
angora sweater, her naked back, and her smile, which lit up
everything. JPF
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
NASTASSJA KINSKI
Francia / Reino Unido - France / UK, 1979 / 186
DCP / Color / Ingls - English
D: Roman Polanski G: Grard Brach, Roman Polanski,
John Brownjohn, Thomas Hardy F: Ghislain Cloquet,
Geoffrey Unsworth E: Alastair McIntyre, Tom Priestley
M: Philippe Sarde P: Claude Berri I: John Collin, Tony Church,
Nastassja Kinski, Brigid Erin Bates, Jeanne Biras
Contacto / Contact
The Festival Agency. Sarah Cagneaux
T +33 954 904 863
E sarah@thefestivalagency.com
W thefestivalagency.com
Francia / Alemania / Reino Unido - France / Germany / UK,
1984 / 148 / DCP / Color / Ingls - English
D: Wim Wenders G: L.M. Kit Carson, Sam Shepard F: Robby Mller
E: Peter Przygodda DA: Kate Altman S: Dominique Auvray
M: Ry Cooder P: Anatole Dauman, Pascale Dauman, Don Guest
PE: Chris Sievernich I: Nastassja Kinski, Harry Dean Stanton,
Sam Berry, Bernhard Wicki, Dean Stockwell
Contacto / Contact
The Festival Agency. Sarah Cagneaux
T +33 954 904 863
E sarah@thefestivalagency.com
W thefestivalagency.com
399
 FOCOS Y HOMENAJES / FOCUS & HOMAGES

MIRTHA LEGRAND

Foto / Photo: Alfredo Honorio Traverso

 MIRTHA LEGRAND

PASAPORTE A RO
Passport to Rio

Todas las criaturas de Dios tienen un alma, pero cuando Ra-

mn Machado descubri la suya ya era demasiado tarde. Es
con esta ominosa introduccin que Tinayre nos sumerge en otra
de esas aventuras noir a las que era tan afecto. Testigo involun-
taria de un crimen, una corista se ve forzada a ceder a la extor-
sin del delincuente, que la obliga a embarcarse con l rumbo
a Ro de Janeiro. Para muchos crticos, esta fue la pelcula que Argentina, 1948
marc el paso de Mirtha Legrand de la comedia ingenua a la 100 / 16mm / B&N
etapa ms adulta de su carrera como actriz. Mariano Kairuz Espaol - Spanish

All of Gods creatures have a soul, but when Ramn Machado
discovered his, it was already too late. It is with this ominous
introduction that Tinayre submerges us into another of those
noir adventures he was so fond of. The involuntary witness of
a crime, a showgirl sees no other choice but to give in to the
criminals extortion. He forces her to board with him on a trip
to Rio de Janeiro. To lots of critics, this film meant Mirtha Le-
grands leap from nave comedy to a more adult stage in her
career as an actress. MK
D: Daniel Tinayre G: Csar Tiempo, Daniel Tinayre, Luis Saslavsky
F: Antonio Merayo E: Jorge Garate, Jos Serra M: Guillermo Cases,
Juan Ehlert P: Luis Saslavsky, Daniel Tinayre I: Mirtha Legrand,
Arturo de Crdova, Francisco de Paula, Eduardo Cuitio, Nathn Pinzn
Contacto / Contact
Filmoteca Buenos Aires
E filmotecaba@gmail.com

ESPOSA LTIMO MODELO

Brand New Wife

Gran comedia screwball de Carlos Schlieper en la que Mir-

tha Legrand es Mara Fernanda Alcntara, una joven rica que
se enamora y se casa hacindole creer a su marido que es
experta en tareas domsticas. Una farsa de ritmo velocsimo
en la que Legrand ostent al mximo y con sustento el trono
de reina de la comedia local. Su confianza, su potencia, su
impetuosidad y sobre todo su capacidad para no exagerar Argentina, 1950
el gesto en un gnero que tenda con frecuencia al nfasis 86 / 16mm / B&N
recuerdan los modos de Katharine Hepburn en La adorable Espaol - Spanish
revoltosa, de Hawks. Javier Porta Fouz D: Carlos Schlieper G: Ariel Cortazzo, Carlos Schlieper
A great screwball comedy by Carlos Schlieper in which Mirtha F: Francis Boeniger E: Atilio Rinaldi, Ral Rinaldi DA: Germen Gelpi,
Legrand plays Mara Fernanda Alcntara, a rich young woman Mario Vanarelli M: Vctor Schlichter I: Mirtha Legrand, ngel Magaa,
who falls in love and gets married making his husband think Felisa Mary, Amalia Snchez Ario, Osvaldo Miranda
shes an expert in household chores. A very-fast-paced farce Contacto / Contact
with which Legrand became the undeniable queen of local Filmoteca Buenos Aires
comedy. Her confidence, her potency, boldness and above E filmotecaba@gmail.com
all her capability to not exaggerate gestures in a genre fre-
quently used to emphasizing, bring to mind Katharine Hep-
burns modes in Hawks Bringing Up Baby. JPF

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 401

FOCOS Y HOMENAJES / FOCUS & HOMAGES

GRACIELA BORGES
 GRACIELA BORGES

LA CINAGA

Familias, casas, molicie, chicos, verano, Salta, guerras de clase

y de gnero y decadencias varias. La cinaga fue el rutilante
inicio del cine de Lucrecia Martel, intensamente interesado por
las palabras, por la conversacin. Las formas de decir como
base para desplegar un relato mltiple, en el que el escamoteo
narrativo es fundamental para ampliar cada sentido. La pelcu-
la marc, adems, una continuidad y a la vez una reinvencin Argentina / Espaa - Argentina / Spain, 2000
en la carrera de Graciela Borges, que siempre supo manejar 102 / 35mm / Color / Espaol - Spanish
las palabras como nadie y de esta manera entraba al Nuevo D, G: Lucrecia Martel F: Hugo Colace DA: Graciela Oderigo
Cine Argentino con un film admirable. Javier Porta Fouz S: Herve Guyader, Emannuel Croset M: Santiago Ricci
Families, houses, comfort, kids, summer, Salta, class and gen- P: Lita Stantic I: Graciela Borges, Mercedes Morn,
der wars and various decadences. La cinaga was the spar- Martn Adjemin, Daniel Valenzuela, Juan Cruz Bordeu
kling beginning of Lucrecia Martels cinema, intensely inter- Contacto / Contact
ested in words, in conversation. The forms of saying as a basis Filmoteca Buenos Aires
to spread out a multiple narrative, in which holding back plot E filmotecaba@gmail.com
elements prove fundamental in order to expand every sense.
The film also marked a continuity and, at the same time, a
reinvention of Graciela Borges career. She always knew how
to handle words like no one else, and with this admirable film,
she became part of the New Argentine Cinema. JPF

EL DEPENDIENTE
The Dependent

Fernndez vive en un pueblo minsculo, trabaja en la ferre-

tera de Don Vila y espera que el viejo pase a mejor vida para
heredar el negocio. La monotona se rompe cuando conoce a
la seorita Plasini, una Graciela Borges jovencsima, hermosa
y tremendamente hermtica. Fernndez, un roedor humano,
no sabe qu hacer con esta princesa encerrada. Y Favio, que
domina tanto la frustracin de pueblo chico y el tono claustro- Argentina, 1969 / 87 / 35mm / B&N
fbico de pesadilla, hace de esta historia de amor un descenso Espaol - Spanish
hacia el terror ms puro, ese que nace de las pequeas cosas D: Leonardo Favio G: Jorge Zuhair Jury, Roberto Irigoyen
no dichas e inconfesables. Guido Segal F: Anbal Di Salvo E: Antonio Ripoll DA: Teresa Milln M: Vico Berti
Fernndez lives in a minuscule apartment, works at Don Vilas P: Leopoldo Torre Nilsson I: Graciela Borges, Walter Vidarte,
hardware store and is waiting for the old man to die in order to Fernando Iglesias, Nora Cullen, Martn Andrade
inherit the business. The monotony cracks when he meets Ms. Contacto / Contact
Plasini, a very young, beautiful, tremendously hermetic Graciela Cinemateca INCAA
Borges. A human rodent, Fernndez doesnt know what to do T +54 11 6779 0922
with this locked-up princess. And Favio, who handles small- E cinemateca@incaa.gov.ar
town frustration and a claustrophobic, nightmarish tone perfect- W incaa.gov.ar
ly, turns this love story into a descent to the purest of horrors,
that which is born from small, shameful things left unsaid. GS

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 FOCOS Y HOMENAJES / FOCUS & HOMAGES

MICHEL LEGRAND
El impar pianista y compositor se presentar en una velada inolvidable en el Teatro Coln,
con acompaamiento de orquesta, en la que interpretar varios de los grandes xitos de su
extensa carrera en el cine, como la msica de Los paraguas de Cherburgo o Verano del 42.
The pianist and composer will perform in an unforgettable evening at the Teatro Coln, with a
live orchestra. He will play several of the greatest hits of his extense film career, such as the
score for The Umbrellas of Cherbourg, and Summer of 42.
 MICHEL LEGRAND

LOS PARAGUAS DE CHERBURGO

Les Parapluies de Cherbourg
The Umbrellas of Cherbourg

Este clsico moderno de Jacques Demy sobrevive hasta el

da de hoy con la misma intensidad de siempre. Su lirismo es
potente pero discreto, su paleta de colores se alza con una
luminosidad que puede ser tomada como un gesto de me-
lancola anticipada por un cine perdido. El director ofrece una Francia / Alemania - France / Germany, 1964 / 91 / DCP / Color
fantasa musical poderosa que no reniega de cierto sentido Francs - French
trgico de la existencia y cuya fuerza secreta se impone en
cada plano con una gracia ciertamente contempornea: un D, G: Jacques Demy F: Jean Rabier E: Anne-Marie Cotret,
poco triste, un poco distante, incluso un poco desesperan- Monique Teisseire DA: Bernard Evein M: Michel Legrand
P: Mag Bodard CP: Parc Film, Madeleine Films, Beta Film
zada. David Obarrio
I: Catherine Deneuve, Nino Castelnuovo, Anne Vernon,
This modern classic by Jacques Demy survives to this day with Marc Michel, Ellen Farner
the same intensity as always. Its lyric quality is strong and yet
Contacto / Contact
discreet, its pallet of colors rises with a brightness that can
Cin-Tamaris
be regarded as a gesture of anticipated melancholy for a lost
T +33 143 226 600 E cine-tamaris@wanadoo.fr
cinema. The filmmaker delivers a powerful musical fantasy that
W cine-tamaris.fr ~ facebook.com/LesParapluiesDeCherbourgOfficiel
doesnt reject a certain tragic sense of existence, with a secret
force that stands on every shot with a certainly contemporary
grace: a little sad, a little distant, and even a little hopeless. DO

EL CASO THOMAS CROWN

The Thomas Crown Affair

El caso (policial) o el affaire (entre investigadora e investigado)

importan ms bien poco en El caso Thomas Crown, un hiperes-
tilizado juego del gato y el ratn que incluye pantallas divididas,
un beso que dura un minuto por reloj y mucho, mucho can-
cherismo delante y detrs de cmara. La pelcula iba a tardar
aos en ganarse cierto culto (y 31 en tener su remake), pero
Legrand no tuvo que esperar tanto: en su primer trabajo impor-
tante en Hollywood gan el Oscar a Mejor Cancin con la bella
y barroca The Windmills of Your Mind. Agustn Masaedo
The (criminal) plot or the affaire (between the investigating
woman and the investigated man) are of little importance in
The Thomas Crown Affair, a hyper-stylish game of cat and
mouse that features split screens, a minute-long kiss, and
plenty of cool on both ends of the camera. The film took years
to gain a certain cult status (and 31 to have a remake), but
Legrand didnt have to wait that long: his first important job in
Hollywood won him the Oscar for Best Original Song with the
beautiful and baroque The Windmills of Your Mind. AM
Estados Unidos - US, 1968 / 102 / 35mm / Color
Ingls - English
D: Norman Jewison G: Alan R. Trustman F: Haskell Wexler
E: Hal Ashby, Byron Brandt, Ralph E. Winters DA: Robert Boyle
S: Jim Richard M: Michel Legrand P: Norman Jewison
CP: The Mirisch Corporation, Simkoe, Solar Productions I: Steve
McQueen, Faye Dunaway, Paul Burke, Jack Weston, Biff McGuire
Contacto / Contact
Park Circus
T +44 141 332 2175
E info@parkcircus.com W parkcircus.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 405

LUCILE HADZIHALILOVIC
FOCOS Y HOMENAJES / FOCUS & HOMAGES
LUCILE HADZIHALILOVIC
Como nios capturados por la cmara en el trance de un
estado a otro, desde una calma ominosa, baada con un
haz de luz de apariencia beatfica, hasta el recinto tene-
broso propio de las fbulas modernas que exhiben el re-
verso de un mundo de optimismo y bienaventuranza, las
pelculas de Hadzihalilovic constituyen un inventario fas-
cinante de zonas oscuras e inexploradas. Consternacin
secreta de la vida en los suburbios, seales de alarma
declinadas con una precisin matemtica, adolescentes
en cuya natural altivez se refleja un halo de horror. La di-
rectora es, probablemente, una de las especialistas ms
refinadas en eso que podramos llamar la incertidumbre
contempornea. David Obarrio
LA BOUCHE DE JEAN-PIERRE
Mimi
La pera prima de Lucile Hadzihalilovic es un antdoto impla-
cable contra cualquier clich parisino la Amlie Poulain. Con
un asfixiante uso del scope y un montaje afilado, la historia de
la pequea Mimi y sus das de angustia en el departamento de
sus tos es un cuento de terror (ogro incluido) que anticipa de
modo despiadado el va crucis por el que la sociedad europea
del bienestar ya transitaba; un naufragio que con el cambio
de siglo desbordara cualquier intento cosmtico. Fran Gayo
Lucile Hadzihalilovics first film is a relentless antidote against
any Paris clich la Amlie Poulain. With an asphyxiating use
of scope and sharp editing, the story of little Mimi and her
anguished days in her uncles apartment is a horror story (ogre
included) that anticipates the ruthless Stations of the Cross the
European welfare society was already going through; a ship-
wreck that would overflow any cosmetic portrayal by the turn
of the century. FG
408 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Like children captured by the camera during the trance
from one state to another, from an ominous calm,
steeped in a beam of light of beatific appearance, even
the typical gloomy facility of modern fables that show
the other side of a world of optimism and prosperity,
Hadzihalilovics films constitute a fascinating inventory
of dark and unexplored areas. Secret consternation of
life in the suburbs, alarm signals declined with math-
ematical precision, teenagers with an aura of horror
reflected in their natural pride. The director is perhaps
one of the most refined specialists in what we could
refer to as contemporary uncertainty. DO
Francia - France, 1996 / 52 / 35mm / Color / Francs - French
D, G, E: Lucile Hadzihalilovic F: Dominique Colin, Gaspar No
DA: William Abello S: Benjamin Lecuyer M: Loic Da Silva,
Philippe Mallier, John Milko, Franois Roy I: Sandra Sammartino,
Denise Aron-Schropfer, Michel Trillot, Delphine Allange, Jacques Gallo
Contacto / Contact
Wild Bunch. Esther Devos
T +33 143 132 127
E edevos@wildbunch.eu
W wildbunch.biz

INOCENCIA
Innocence
Protagonizado por Marion Cotillard, el film narra las vicisitudes
de un internado de nias a travs de los ojos de Iris, de 6 aos,
mientras se va acostumbrando a su nueva vida.
Tras La Bouche de Jean-Pierre, Hadzihalilovic regresa al trnsito
entre infancia y adolescencia, aunque en este caso alejndose
de la sordidez suburbial parisina de su primer film y adaptando
Mine-Haha, novela del dramaturgo alemn Frank Wedekind. De
algn modo, los tres films dirigidos por Hadzihalilovic hasta la
fecha tratan de capturar ese momento decisivo de transforma-
cin: el instante, que dura unos meses, en que toda una fase
de la vida (la niez) queda inexorablemente atrs y se produce
una especie de renacer. Ambientada en un internado femenino
al que las nuevas alumnas ingresan en lustrosos atades, Ino-
cencia es una soberbia y sensual fantasa que bebe igualmente
de Kafka, del Walser de Jakob von Gunten o del Peter Weir de
Picnic en Hanging Rock. Fran Gayo
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
LUCILE HADZIHALILOVIC
Starring Marion Cotillard, the film narrates life inside a girls
boarding school through the eyes of 6-year-old Iris, as she gets
used to her new life.
After La bouche de Jean-Pierre, Hadzihalilovic returns to the
passage from childhood to adolescence, although in this case
she steers clear from the Parisian-suburbs sleaziness of her
first film and adapts Mine-Haha, a novel by German playwright
Frank Wedekind. In some way, the three films directed by
Hadzihalilovic to date try to capture that decisive moment of
transformation: the instant, which lasts a few months, in which
an entire phase of life (childhood) is inexorably left behind and
some sort of rebirth takes place. Set in a female boarding school
to which the new students arrive in shiny coffins, Innocence is a
superb, sensual fantasy influenced in equal measures by Kafka,
the Walser from Jakob von Gunten or the Peter Weir from Picnic
at Hanging Rock. FG
Francia - France, 2004 / 122 / 35mm / Color / Francs - French
D, G: Lucile Hadzihalilovic E: Adam Finch F: Benot Debie
DA: Arnaud de Moleron S: Jean-Luc Audy M: Richard Cooke
P: Geoffrey Cox, Alain de la Mata, Patrick Sobelman
PE: Paul Trijbits I: Zo Auclair, Lea Bridarolli,
Brangre Haubruge, Marion Cotillard, Hlne de Fougerolles
Contacto / Contact
Wild Bunch. Esther Devos
T +33 1 4313 2127
E edevos@wildbunch.eu
W wildbunch.biz
409
PREMIERE LATINOAMERICANA / LATAM PREMIERE
LUCILE HADZIHALILOVIC
VOLUTION
Evolution
Evolucin
En una pequea y austera aldea costera en la que solo viven
nios varones con sus respectivas madres, se llevan a cabo
misteriosos tratamientos mdicos.
Hipntica, cansina, la marea mueve con su vaivn la flora mar-
tima. Nicols bucea cerca de la costa, hasta que cree ver una fi-
gura humana en el fondo del mar. Un nio, como l. Muerto. Ese
descubrimiento ser el que precipite la prdida de la inocencia,
mientras su pequeo lugar en el mundo comienza a develar
siniestros secretos. Al igual que en Inocencia, su largometraje
debut, Hadzihalilovic vuelve a atacar la pubertad como punto de
pivote existencial, zambullndose en las profundidades del ho-
rror biolgico o body horror con atisbos de fbula folklrica. lore fable. Handcrafted and atmospheric, Evolution is one
Artesanal, climtico, volution es uno de esos films pringosos,
difciles de dejar atrs al terminar de verlo: su seca serenidad,
una invitacin a caminar sobre el lmite entre lo onrico y lo
pesadillesco. Pablo Conde
410 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In a small, austere coastal village where only male children
live with their respective mothers, some mysterious medical
treatments take place.
The hypnotic and tired tides move the oceans flora. Nico-
ls is scuba diving near the shore, until he believes to have
seen a human shape at the bottom of the sea. A boy, just
like him. Dead. That discovery will precipitate the loss of his
innocence, as his tiny place in the world will start to reveal
some sinister secrets. Just like in his first film Innocence,
Hadzihalilovic attacks puberty as an existential turning point,
and dives into the depths of body horror, with hints of a folk-
of those sticky films that are hard to leave behind after you
watched it: its fry serenity is an invitation to walk over the
limit between dreams and nightmares. PC
Francia - France, 2015 / 81 / DCP / Color
Francs - French
D: Lucile Hadzihalilovic G: Lucile Hadzihalilovic, Alant Kavat
F: Manu Dacosse E: Nassim Gordji-Tehrani DA: Laia Colet
P: Sylvie Pialat, Benot Quainon CP: Les Films du Worso,
Noodles Production, Volcano Films, Scope Pictures, Left Field Ventures
I: Max Brebant, Roxane Duran, Julie-Marie Parmentier
Contacto / Contact
Wild Bunch. Esther Devos
T +33 1 4313 2127
E edevos@wildbunch.eu W wildbunch.biz
LEWIS BENNETT
FOCOS Y HOMENAJES / FOCUS & HOMAGES

CORTOS DE LEWIS BENNETT

SHORT FILMS BY LEWIS BENNETT

Hago documentales sobre gente que vive en la Colum-
bia Britnica, se presenta Lewis Bennett. La provincia
del oeste canadiense, segn l, est llena de personas
interesantes, de historias interesantes. Y adems no
tengo plata para viajar. En ese remate se ve un poco
ms del carcter de estos nueve minidocumentales, en
los que el humor surge amable, sin esfuerzo ni maldad:
hay una empata indisimulable que fluye entre ambos
extremos de la cmara. Si no son un poquito ms felices
despus de ver los cortos de Bennett, por las dudas no
se lo digan en la cara: an no tenemos claro si es o no
un pandillero asitico. Agustn Masaedo
I make documentaries about people living in British Co-
lumbia. Thats how Lewis Bennett introduces himself.
For him, in the Western province of Canada there are a
lot of interesting people, a lot of interesting stories. Plus,
I dont have any money to travel. And that punchline
tells us a bit more about the nature of these nine mini-
documentaries, in which comedy emerges kindly and
effortlessly: theres an unmistakable empathy flowing
between the two sides of the camera. If youre not a bit
happier after seeing Bennetts short films, dont tell him
that to his face, just in case were still not clear if hes
an Asian gang member or not. AM

PREMIERE LATINOAMERICANA / LATAM PREMIERE

ASIAN GANGS
Pandillas asiticas
En 1994, el estudiante de quinto grado Canad - Canada, 2012 / 10
Lewis Bennett se pele en el patio de la es- DM / Color / Ingls - English
cuela y obtuvo una severa advertencia. D, G, E: Lewis Bennett, Calum MacLeod
F: Benjamin Taft M: Donald Weichel
In 1994, Grade 5 student Lewis Bennett got
P: Calum MacLeod, Lewis Bennett, Benjamin Taft
into a schoolyard fight that resulted in a stern
I: Lewis Bennett, Chris Schroeder, Joan Bennett
warning.

HEY VANCOUVER, THIS IS YOU ON CRAIGSLIST

Ey, Vancouver, esta sos vos en Craigslist
Bennett junt algunos avisos de Craigslist du- Canad - Canada, 2012 / 4
rante unas pocas semanas y le pidi a la gente DM / Color / Ingls - English
que paseaba por Stanley Park que los leyera. D, E: Lewis Bennett F: Calum MacLeod
P: Calum MacLeod, Lewis Bennett
Bennett collected some Craigslist ads over a
period of a few weeks and asked people in
Stanley Park to read those posts.

PARROT ISLAND
La isla de los loros
Ray Parkes tiene un santuario para loros Canad - Canada, 2012 / 8
para concientizar al pblico sobre por qu DM / Color / Ingls - English
no deberan comprar estas aves. D, E: Lewis Bennett F: Benjamin Taft
M: Donald Weichel P: Lewis Bennett,
Ray Parkes runs a parrot sanctuary to help
Benjamin Taft I: Ray Parkes
educate the public on why they shouldnt be
buying these birds.

412 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE


TREVOR THE DINOSAUR
Trevor, el dinosaurio
Un breve documental sobre un dinosaurio de
plstico llamado Trevor y su amigo humano
Derek.
A short documentary about a plastic dinosaur
named Trevor and his human friend Derek.
A BRIEF HISTORY OF BRITISH COLUMBIA
Una breve historia de la Columbia Britnica
Secuela de un video que Bennett hizo en la
clase de ciencias sociales de Mrs. Barlow en
quinto grado.
A sequel to a video Bennett made in Mrs.
Barlows social studies class in Grade 5.
SHIRLEY SINGS
Shirley canta
Shirley Buchan empez a cantar a los dos
aos, pero no reuni el coraje para hacerlo
en pblico hasta que cumpli 71.
Shirley Buchan started singing at the age of
two but didnt get up the courage to perform
in front of people until she was 71 years old.
AN AFTERNOON WITH ALEXANDRA MORTON
Una tarde con Alexandra Morton
Bennett se sienta con la biloga marina
Alexandra Morton en su patio para hablar de
sus pensamientos acerca de la humanidad.
Bennett sits down with marine biologist
Alexandra Morton in her backyard, to dis-
cuss her thoughts on humanity.
THE FAT DIET
Dieta de grasa
Los padres de Luke Brocki, inmigrantes po-
lacos, vivieron la ltima dcada ignorando
la sabidura alimenticia occidental al ingerir
enormes cantidades de grasa animal en
cada comida.
Luke Brocks Polish immigrant parents have
spent the last decade ignoring Western food
wisdom by eating huge amounts of animal
fat at every meal.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
LEWIS BENNETT
Canad - Canada, 2012 / 4
DM / Color / Ingls - English
D, E: Lewis Bennett F: Benjamin Taft,
Calum MacLeod, Mike Acheson, Lewis Bennett
P: Mike Acheson, Lewis Bennett I: Derek Scott
Canad - Canada, 2012 / 4
DM / Color / Ingls - English
D, G, F, E, P: Lewis Bennett
I: Joan Bennett, Chris Bennett,
Tom Bennett, Cal Bennett, Hannah Bennett
Canad - Canada, 2012 / 4
DM / Color / Ingls - English
D, E: Lewis Bennett F, P: Lewis Bennett,
Calum MacLeod S: Zach Maurer
M, I: Shirley Buchan
Canad - Canada, 2012 / 6
DM / Color / Ingls - English
D, E: Lewis Bennett F: Benjamin Taft
P: Alex Batko, Benjamin Taft, Lewis Bennett
I: Alexandra Morton
Canad - Canada, 2013 / 7
DM / Color / Ingls - English
D: Lewis Bennett G, E, P: Lewis Bennett,
Luke Brocki F: Calum MacLeod, Benjamin Taft,
Lewis Bennett, Luke Brocki I: Luke Brocki
Contacto / Contact
Lewis Bennett T +1 778 848 1845
E mail@lewisbennett.com
W lewisbennett.com
413
LEWIS BENNETT
THE SANDWICH NAZI
El sandwich nazi
El excntrico Salam Kahil es un coleccionista de arte, msico
amateur y ex acompaante masculino que trabaja preparan-
do sndwiches en un local de Vancouver para alimentar a sus
clientes habituales, y tambin a los indigentes locales. Pero su
verdadera pasin es hablar sobre sexo oral.
En Vancouver, cuando uno compra en lo de Salam Kahil, no
solamente obtiene los promocionados mejores sndwiches de
Norteamrica, sino que adems recibe algn relato de este from this unique character. Lebanon-born Salam was once a
personaje nico. El libans Salam fue escort masculino y cuenta
historias sobre ese trabajo, en el que tiene una relacin muy
particular con su clientela. Al entrar en el local hay que estar
advertido del lenguaje explcito y de que no se puede usar el
celular. Esto es comida con show, o algo por el estilo. Pero The
Sandwich Nazi no es un registro de obscenidades ni de ataques
a la correccin poltica; es un retrato de un personaje en extre-
mo singular y de un corazn generoso, uno de esos hallazgos
que le permiten a un director saber si es apto para atreverse a
contar una vida. Lewis Bennett est a la altura, quizs porque
mira al mundo con la apertura que otorga la aficin por la co-
media. Javier Porta Fouz
414 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Salam Kahlil is an eccentric art collector, amateur musician,
and former male escort whose job is making sandwiches in a
Vancouver shop to feed his regular customers as well as local
homeless people. But his real passion is talking about oral sex.
When you go to Salam Kahlils shop in Vancouver, you not only
get the best sandwiches in North America: you also get a story
male escort, and he tells stories about that job, which included a
particular kind of relationship with his clientele. When you enter
the shop you need to be warned about the explicit language,
and a ban on cellphone use. You get a meal and a show or
something like that. Yet The Sandwich Nazi is not a record of ob-
scenities and attacks on political correctness. Its a portrait of an
extremely singular character with a generous heart, and one of
those rare finds that allows a director to discover whether hes
able to tell a life story. Lewis Bennett is up to the task, perhaps
because he looks at the world with the open-minded spirit you
get from having a taste for comedy. JPF
Canad - Canada, 2015 / 72 / DCP / Color
Ingls / rabe - English / Arabic
D, E: Lewis Bennett F: Benjamin Taft M: Jake Handy
P: Calum MacLeod, Lewis Bennett, Benjamin Taft I: Salam Kahil
Contacto / Contact
Lewis Bennett
T +1 778 848 1845
E mail@lewisbennett.com
W lewisbennett.com ~ thesandwichnazi.com
DACHI SATO
FOCOS Y HOMENAJES / FOCUS & HOMAGES
DACHI SATO
Entre lo abstracto y lo reconocible apenas intuido, en-
tre estallidos pulsantes de luz, color y textura entrevera-
dos de oscuridad, entre la quietud del fotograma aislado
y el movimiento que le imprime el proyector, entre la
visceralidad y el rigor formal: el cine de Dachi Sato se
mueve con soltura por los umbrales y los convierte en
su hogar. Desde ah se ha construido a lo largo de los
ltimos aos una filmografa propicia para el oxmoron,
pues sacude delicadamente a quien con ella se encuen-
tra. Tras numerosas experiencias vitales (trabajar como
obrero de la construccin en su Japn natal, estudiar
filosofa, y aprender hindi y snscrito en la India), Sato
desemboc en Montreal, y en el trabajo con el cine en
soporte fotoqumico de la mano del colectivo Double Ne-
gative, del cual es cofundador el dato es importante,
pues el trabajo manual, en contacto directo con el ma-
terial flmico, es una parte esencial de sus pelculas.
Sato vena de una larga relacin con la literatura se
reconoce antes como biblifilo que como cinfilo, abor-
dando despus el cine como una forma, segn l mismo
dice, de apartar el velo que el lenguaje construye a su
alrededor para empezar a ver. Y, de paso, dejar al des-
cubierto a travs de sus pelculas todas las posibilidades
latentes tras cada imagen. Sato establece as una rela-
cin ntima con cada fotograma (que puede ser filmado y
revelado a mano, o encontrado), que examina largamente
y que luego es transformado usando herramientas como
la copiadora ptica, el azar inherente a los procesos foto-
qumicos, la repeticin, las pausas, la ausencia de ima-
gen, el montaje de la pelcula y el trabajo con el sonido.
El resultado solo puede ser experimentado con propiedad
en una sala de cine. Sirva esta cascada de palabras ver-
tidas sobre l, pues, como mera cortina que apartar para
abandonarse a merced de estas pelculas de inefable y
arrasadora potencia sensorial. Elena Duque
416 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Between the abstract and the unrecognizable and
barely sensed, among pulsating bursts of light, color
and textures interlinked with darkness, among the qui-
etness of an isolated photogram and the movement
from the projector, between visceral tones and formal
rigor: Dachi Satos cinema moves easily through these
thresholds and turns them into its home. In recent years,
he has prompted a kind of filmography that enables the
use of oxymoron, as it delicately stirs up anyone who
comes across it. After going through many experiences
(he worked in construction in homeland Japan, studied
philosophy, and learned both Hindi and Sanskrit in In-
dia), Sato ended up in Montreal, working with cinemas
photochemical materials alongside the Double Negative
group, which he cofounded an important piece of infor-
mation, since handling celluloid material is an essential
part of his films.
Sato came from a long relationship with literature
he acknowledges himself as a bibliophile rather than
a cinephile and later addressed cinema, as a way
to move away the veil language places around it and
start to actually see. And in the meantime, he revealed
through his films all the latent possibilities that lie behind
every image. Sato establishes an intimate relationship
with every photogram (which can be filmed and revealed
by hand, or found), which he examines thoroughly be-
fore they get transformed using tools such as an optic
copying machine, the inherent chance of photochemi-
cal processes, repetition, pauses, the absence of image,
film editing, and sound design. The result can only be
experienced properly in a film theater. Let this cascade
of words about him be a mere curtain to be moved so
you can surrender to this films and their ineffable and
rampaging sensorial force. ED
 DACHI SATO

ENGRAM OF RETURNING
PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2015 / 19 / 35mm / Color

Con la intensidad del sueo, del recuerdo y la naturaleza como The contemplation of landscapes as a sensorial and emotional
un acontecimiento perceptual, y la imagen fotoqumica como el experience, with the intensity of dreams, memories, and the
territorio donde habitan las formas vivas. notion of nature as a perceptual phenomenon, and the photo-
chemical image as the territory of living forms.

TREES OF SYNTAX, LEAVES OF AXIS

Canad - Canada, 2009 / 10 / 35mm / Color

A partir de imgenes registradas en un parque, la pelcula re- The film depicts a place through images recorded in a park,
trata un espacio a la vez que transforma el modo en que lo and transforms the way we perceive it, reconfiguring the act
percibimos, reconfigurando el ejercicio de la mirada. of watching.

NEVER A FOOT TOO FAR, EVEN

PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2012 / 14 / 2x16mm / Color

Retomando como procedimiento el palndromo presente en su Recovering the palindrome of the title as a procedure, Sato
ttulo, Sato construye esta pieza utilizando como material de builds this piece using a fragment of an old kung-fu film as his
origen un fragmento de una antigua pelcula de kung-fu. source material.

ALL THAT RISES

PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2007 / 7 / 16mm / Color

Como si se tensase la pelcula hasta correrse de los lmites, el As if stretching the film until the borders are transcended, the
film revela la entidad cinemtica de los fotogramas y del espa- film reveals the cinematic entity of photograms and the black
cio negro que los separa. space between them.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 417

DACHI SATO

CHASMIC DANCE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2004 / 6 / 16mm / B&N

Haciendo referencia a la danza csmica de Shiva, Chasmic With references to Shivas cosmic dance, Chasmic Dance cap-
Dance captura la energa propia del ritmo y el movimiento a tures the energy of rhythm and the movement from the clash
partir de las colisiones entre luz y sombra. of light and shadow.

CHIASMUS
Canad - Canada, 2003 / 8 / 16mm / B&N

Una exploracin acerca del acto de ver y de la escucha. A partir An exploration on the act of seeing and hearing. Rhythms and
de la imagen de un cuerpo que respira, se crean ritmos y ten- tensions between the sound and visual worlds are created out
siones entre el plano sonoro y el visual. of the picture of a breathing body.

Contacto / Contact
Light Cone Emmanuel Lefrant
T +330146590153 E emmanuel.lefrant@lightcone.org

BLIND ALLEY AUGURY

PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2006 / 3 / Super 8 / Color

Registro directo, montado en cmara, en el que programtica- A direct record with on-screen edition in which beings, objects,
mente se retratan, como si se tratase de un ecosistema en su light, shadow, and color are portrayed in a program, as if they
conjunto, seres y objetos, luz, sombra y color. were part of an ecosystem.

GREEN FUSE
PREMIERE LATINOAMERICANA / LATAM PREMIERE
Canad - Canada, 2008 / 3 / Super 8 / Color

Retrato vegetal en el que la fisonoma de los rboles deviene en A vegetal portrait in which the shape of trees becomes pure
color puro, luz y sombra, forma orgnica en permanente dilogo color, light and shadow, an organic form in a permanent dia-
con la abstraccin. logue with abstraction.
Contacto / Contact
Dachi Sato
E dsaitofilm@gmail.com

418 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

BRITANNIA LADO B / BRITANNIA B-SIDE
SHAKESPEARE VIVE
SHAKESPEARE LIVES
FOCOS Y HOMENAJES / FOCUS & HOMAGES
BRITANNIA LADO B: SHAKESPEARE VIVE
BRITANNIA B-SIDE: SHAKESPEARE LIVES
Por qu insiste el cine en meterse con Shakespeare?
Para muchos se trata apenas de la mala conciencia cau-
sada por su carcter comercial y masivo: la adaptacin
de los grandes clsicos le dara un aura, o al menos un
barniz, de cultura, de seriedad a un entretenimiento cuya
condicin de artstico nunca estara libre de toda sospe-
cha. Pero si es este el objetivo, por qu no adaptar a
Virgilio, a Dante, a Cervantes, a Milton con la misma frui-
cin? Una primera respuesta sera postular simplemen-
te que, si William Shakespeare viviera, sera guionista
en lugar de dramaturgo. De hecho, puede decirse que
Shakespeare invent el cine o, para ser menos efec-
tistas y ms precisos, digamos que invent el lenguaje
y el espectculo cinematogrficos trescientos aos an-
tes de que la fotografa del movimiento y el celuloide lo
hicieran tcnicamente posible. Invent el espectculo (lo
que es decir tambin el negocio), porque su teatro era
como no lo fue ningn teatro antes o despus un en-
tretenimiento popular y cotidiano, para todas las clases
y no limitado a festividades religiosas o celebraciones
oficiales exactamente lo que el cine ha sido desde sus
inicios. Invent el lenguaje, con su alternancia a veces
desenfrenada de momentos de accin y escenas nti-
mas o reflexivas (sus panormicas y sus primeros pla-
nos, digamos); con la variedad de locaciones desde la
intimidad del dormitorio hasta los campos de batalla y
el manejo nada continuo de los tiempos; con la cantidad
y variedad de personajes; y sobre todo con su manera
de contar la historia en breves escenas, muchas veces
poco ms que cortes o inserts, antes que en largos actos
continuos como en el teatro posterior. El teatro isabelino
fue quizs el primer proftico vagido de la moderna in-
dustria cultural de masas, y Shakespeare fue el primero
en escucharlo. Carlos Gamerro
420 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Why does cinema insists on tampering with Shake-
speare? Many people think this is the result of a guilty
conscience, caused by its commercial and massive na-
ture: adapting great classics would provide an aura, or
at least a varnish of culture and seriousness to a form
of entertainment whose artistic condition will never be
completely free of suspicion. But if that is the goal, why
not adapting Virgil, Dante, Cervantes, or Milton with the
same delight? A first answer could be to simply state that
if William Shakespeare were alive, he would be a script-
writer instead of a playwright. In fact, you can safely say
that Shakespeare invented cinema or, if we prefer to be
less gimmicky and more precise, lets say he invented
the film language and spectacle three hundred years
before the moving picture and celluloid made it techni-
cally possible. He invented the show (and therefore, the
business), because his theater was like no theater be-
fore him a popular and everyday entertainment for all
classes and not limited to religious festivities or official
celebrations exactly what cinema has been ever since
it was created. He invented the language, with his often-
unstoppable alternation of action moments with intimate
and reflexive scenes (his wide and close-up shots, lets
say), his variety of locations from intimate bedrooms to
battlefields, his non-continuing use of time, the amount
and diversity of his characters, and, above all, his way of
telling the story in brief scenes that were often cuts and
inserts rather than long continuous acts like the theater
that came later. Elizabethan theater was perhaps the
first, prophetic cry of the modern mass culture industry,
and Shakespeare the first one to hear it. CG
 BRITANNIA LADO B: SHAKESPEARE VIVE
Cortesa de / Courtesy of ITV and Park Circus

TODA UNA NOCHE

All Night Long

En las pginas shakesperianas, el moro Otelo conquista a la

hija del senador veneciano Brabantio, Desdmona, narrndole
sus vertiginosas historias al servicio de Venecia, mientras que
es acusado de haber hechizado a la dama. Pero aqu, en este
brumoso y sensacional film, Otelo es trasladado al mundo de
los clubes de jazz de Londres en los aos 60. A lo largo de una
noche, durante la celebracin por el aniversario de la pareja de
msicos Aurelius Rex y Delia Lane, el celoso y ambicioso bate-
rista Johnny Cousin (Patrick McGoohan) intenta separar a esta
pareja interracial. Este osado psicodrama incluye apariciones
de leyendas del jazz como Charles Mingus, Dave Brubeck, Tu-
bby Hayes y Johnny Dankworth.
Reino Unido - UK, 1962 / 91 / DCP / B&N / Ingls - English
D: Basil Dearden G: Nel King, Paul Jarrico F: Edward Scaife
E: John D. Guthridge DA: Ray Simm M: Philip Green
P: Michael Relph, Bob Roberts I: Patrick McGoohan, Keith Michell,
Betsy Blair, Paul Harris, Marti Stevens
On the Shakespearean pages, the Moor Othello seduces the
daughter of Venetian senator Brabantio, Desdemona, by nar-
rating his dazzling stories at the service of Venice, while ac-
cused of bewitching the lady. But here, Othello is translated
to the world of 60s London jazz clubs in these smoky and
sensational film. Over the course of one eventful evening of the
anniversary celebration of the musical and romantic partners,
Aurelius Rex and Delia Lane, a jealous, ambitious drummer,
Johnny Cousin (Patrick McGoohan) attempts to tear the inter-
racial couple apart. This daring psychodrama also features
on-screen appearances of jazz legends Charles Mingus, Dave
Brubeck, Tubby Hayes and Johnny Dankworth.

Cortesa de / Courtesy of Exclusive Media and Park Circus

KING LEAR
Rey Lear

Peter Brook (quien sabe aprovechar y poner en juego toda su

maestra, tanto para el teatro como para el cine) dirige su pro-
pia adaptacin de la tragedia clsica de Shakespeare. Luego de
dividir su reino entre sus tres hijas, el Rey Lear (Paul Scofield)
decide distribuir las tierras bajo el criterio de cul de ellas decla-
ra amarlo ms. Y, por supuesto, a partir de all todo comienza a
complicarse. Cuando su hija Cordelia se niega a alabar el ego de
su padre con declaraciones de devocin, Lear, furioso, les da la
parte del len de su poder a sus hermanas Gonerilda y Regania.
Rpidamente ellas se aprovecharn de la situacin, y el rey Lear
ver debilitada su hombra. Poco tiempo despus, caer en la
locura, a medida que su viejo imperio se derrumba.
Reino Unido / Dinamarca - UK / Denmark, 1971
137 / DCP / B&N / Ingls - English
D: Peter Brook F: Henning Kristiansen E: Kasper Schyberg
DA: Georges Wakhvitch S: Bob Allen P: Michael Birkett
PE: Sam Lomberg I: Paul Scofield, Irene Worth, Cyril Cusack,
Susan Engel, Tom Fleming
Peter Brook (who knows how to make the most of elements
and set his masterful hand in play, both in theater and cinema)
directs his own adaptation of Shakespeares classic tragedy.
King Lear (Paul Scofield), having decided to split his kingdom
between his three daughters, decides to apportion the lands
according to which daughter declaims her love for him best.
And, of course, from then on everything gets complicated.
When his daughter Cordelia refuses to flatter her fathers ego
with claims of devotion, Lear angrily gives the lions share of
his power to her sisters, Goneril and Regan. They soon abuse
this trust, and Lear finds himself powerless. Before long he is
drifting into madness, as his former empire falls apart.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 421

BRITANNIA B-SIDE: SHAKESPEARE LIVES
Cortesa de / Courtesy of Sony and Park Circus

MACBETH

Sin duda una de las obras ms reconocidas del dramaturgo

ingls, en este caso le da al director de films como China-
town, El pianista y Tess una oportunidad imperdible. Roman
Polanski presenta su pesadillesca visin de la tragedia clsica
de Shakespeare sobre la avidez de poder y sus sangrientas
consecuencias. Jon Finch es Macbeth, el hroe de guerra es-
cocs cuya ambicin delirante desata una espiral de violencia. Undoubtely one of the most renowned works of the English
Guiado por la profeca sobrenatural de tres brujas, Macbeth es playwright, it provides the director of Chinatown, The Pianist,
provocado por su lady (Francesca Annis) para que asesine al and Tess, with a unique opportunity. Roman Polanski presents
rey Duncan y asuma su trono. Filmado en el robusto norte de his nightmarish vision of Shakespeares classic tragedy about
Gales, Polanski utiliz el paisaje para acentuar los elementos the lust for power and its Bloody consequences. Jon Finch is
visuales de la obra de Shakespeare. Macbeth, the Scottish war hero, whose insane ambition un-
leashes a cycle of violence. Prompted by the supernatural
prophecy of three witches, Macbeth is goaded by his Lady
Reino Unido / Estados Unidos - UK / US, 1971
(Francesca Annis) into slaying King Duncan and assuming his
140 / DM / Color / Ingls - English
throne. Filmed in rugged North Wales, Polanski used the land-
D: Roman Polanski G: Roman Polanski, Kenneth Tynan scape to accentuate the visual elements of Shakespeares play.
F: Gilbert Taylor E: Alastair McIntyre DA: Wilfred Shingleton,
Fred Carter P: Andrew Braunsberg PE: Hugh M. Hefner
I: Jon Finch, Francesca Annis, Martin Shaw, Terence Bayler,
John Stride

Cortesa de / Courtesy of MGM and Park Circus

EL MERCADER DE LA MUERTE
Theatre of Blood

Interpretar clsicos colosales puede ser una distincin acto-

ral e incluso el anhelo ms grande para muchos intrpretes,
pero peligrosamente puede convertirse tambin en una insana
obsesin. Esta brillante y singular comedia de terror tiene a
Vincent Price en el rol de un actor psictico y megalmano
que se niega a interpretar cualquier personaje que no sea de
Shakespeare. Sintindose abandonado por nueve crticos que Playing colossally classic roles may be a distinction and a huge
le negaron el premio a Mejor Actor del Ao, reinterpreta esce- dream for many actors, but it can also become a dangerous
nas shakesperianas de asesinato con su hija (Diana Rigg) para and insane obsession. This brilliant yet bizarre comedy-horror
cobrarse su espantosa venganza. El mercader de la muerte has Vincent Price starring as a self-important, psychotic actor
es una genuina y menospreciada rareza del cine ingls que who refuses to play anything other than Shakespeare. Feeling
combina efectos cinematogrficos grotescos con parodia y jilted by nine critics who denied him the Best Actor of the Year
caricaturas, y termina siendo excepcional. award, he re-enacts Shakespearean murder scenes with his
daughter (Diana Rigg) to earn his gruesome revenge. Theatre
of Blood is a genuine and underrated oddity of British cinema,
Reino Unido - UK, 1973 / 104 / DCP / B&N
combining grotesque cinematic effects with parody and cari-
Ingls - English
catures to create an exceptional film.
D: Douglas Hickox G: Anthony Greville-Bell F: Wolfgang Suschitzky
E: Malcolm Cooke DA: Michael Seymour M: Michael J. Lewis
P: John Kohn, Stanley Mann PE: Gustave M. Berne, Sam Jaffe
I: Vincent Price, Diana Rigg, Ian Hendry, Harry Andrews, Coral Browne

422 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 BRITANNIA LADO B: SHAKESPEARE VIVE

THE TEMPEST
La tempestad

La interpretacin de Derek Jarman de la ltima obra de

Shakespeare es un evocativo retrato del colonialismo, la ven-
ganza, la retribucin y la reconciliacin. Prspero, antiguo du-
que de Miln, y su hija Miranda son abandonados en una isla
remota por Antonio, el hermano malvado del duque. Doce aos
despus, ha aprendido las artes liberales. Crea una tempes-
tad para que el barco de Antonio naufrague en esa misteriosa Derek Jarmans interpretation of Shakespeares final play is
isla, y as lograr que el otro viajero, el prncipe Ferdinando de an evocative depiction of colonialism, revenge, retribution and
Npoles, se case con su hija, con el fin de restaurar la paz reconciliation. Prospero, the former Duke of Milan, and his
entre Miln y Npoles. Jarman le brinda una sensibilidad punk daughter Miranda were abandoned on a remote island by the
a su obra, con elementos visuales salvajes y ricos diseos que Dukes evil brother Antonio. Twelve years later, he has learnt
fcilmente esconden el bajsimo presupuesto de la pelcula. the liberal arts; he creates a tempest to shipwreck Antonios
ship on the mysterious island in an attempt to marry his travel-
ling companion Prince Ferdinand of Naples to his daughter,
Reino Unido - UK, 1979 / 95 / DCP / Color
in order to restore peace between Milan and Naples. Jarman
Ingls - English brings a punk sensibility to this production, with wild visuals
and rich designs that easily conceal the films meagre budget.
D, G: Derek Jarman F: Peter Middleton E: Lesley Walker
DA: Yolanda Sonnabend M: John Lewis, Brian Hodgson
P: Guy Ford, Mordecai Shreiber PE: Don Boyd I: Peter Bull,
David Meyer, Neil Cunningham, Heathcote Williams, Toyah Willcox

Cortesa de / Courtesy of Sony and Park Circus

MUCH ADO ABOUT NOTHING

Mucho ruido y pocas nueces

Un prncipe de Aragn, su hermano bastardo Don Juan, Be-

nedicto y Claudio, vuelven victoriosos y repletos de honores
de una dura batalla. En una bellsima campia son recibidos
por un caballero que vive all con su hija Hero y su sobrina
Beatriz. Esta ingeniosa y gil representacin de Mucho ruido
y pocas nueces es un testamento de las amplias capacidades
creativas de Branagh, como as tambin una de las mejores An Aragon prince, his bastard brother Don Juan, Benedick,
adaptaciones de Shakespeare que jams se hayan filmado. La and Claudio, all return victorious from a hard battle, filled with
fotografa acenta el exuberante paisaje de la Toscana en el honors. In a beautiful rural estate, a gentleman who lives there
que el actor y director, en el rol del gracioso Benedicto, y Emma with his daughter Hero and her niece Beatrice welcomes them
Thompson, como la voluntariosa y demandante Beatriz, dan all. This witty and fast-paced representation of Shakespeares
vida a esta adaptacin. Much Ado About Nothing is a testament to Branaghs extensive
creative abilities, as well as arguably one of the best Shake-
speare adaptations ever filmed. The cinematography accentu-
Reino Unido / Estados Unidos - UK / US, 1993
ates the lush Tuscan landscape in which the actor-director as
111 / DM / Color / Ingls - English
the humorous Benedick, and Emma Thompson, as the wilful
D, G: Kenneth Branagh F: Roger Lanser E: Andrew Marcus and challenging Beatrice, bring this adaptation to life.
DA: Martin Childs, Tim Harvey I: Richard Briers, Kate Beckinsale,
Imelda Staunton, Jimmy Yuill, Brian Blessed

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 423

BRITANNIA B-SIDE: SHAKESPEARE LIVES

NEXT
Siguiente

Will se parece muchsimo al mismsimo Shakespeare, y hace

un casting sobre el escenario frente a Peter, un productor muy
ocupado que apenas presta atencin a la actuacin extraordi-
naria y encantadora de Will. En menos de cinco minutos, Will
lleva a los espectadores a travs de un torbellino de interpre-
taciones de las obras de Shakespeare, a pesar de que sus es-
fuerzos resultan intiles a los ojos de un productor indiferente. Will, who bears an uncanny resemblance to Shakespeare
himself, auditions on stage in front of Peter, a busy producer
who hardly notices Wills extraordinary and enchanting perfor-
Reino Unido - UK, 1990 mance. In less than five minutes, Will takes the viewer through
5 / DCP / Color / Ingls - English a whirlwind performance of Shakespeares plays despite his
D, G: Barry Purves E: Helen Garrard, efforts being fruitless in the eyes of a disinterested producer.
David McCormick M: Stuart Gordon
P: Sara Mullock I: Barry Purves, Roger Rees

424 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

GALERA BAFICI / BAFICI GALLERY

GRACIELA BORGES Y MIRTHA LEGRAND, DIVAS DEL CINE ARGENTINO

Graciela Borges and Mirtha Legrand, Argentine Film Divas

No solo actrices de los momentos clave del cine argentino

(incluso de sus cambios): Graciela Borges y Mirtha Legrand
son, adems, presencias culturales insoslayables, conos
insustituibles, actrices con capacidades adaptativas ad-
mirables. Esta exposicin no solo es un recorrido por su
filmografa, sus vestidos y diversos objetos, sino tambin
una puesta en perspectiva de la categora de estrella, de
diva, de lo que representan en el cine argentino, de cmo
encarnaron y encarnan imaginarios, expectativas, sueos.
Borges y Legrand en imgenes en movimiento, en fotogra-
fas, en reflejos de sus fulgores, en presencia magnificada
y tambin afortunadamente cercana.
Theyre not just actresses from key periods of Argentine
cinema (and from its mutations). Graciela Borges and
Mirtha Legrand are also inevitable cultural presences, irre- represent for Argentine cinema, on how they have embod-
placeable icons, and actresses with remarkable abilities for ied and still do imaginaries, expectations, and dreams.
adaptation. This exhibition is not just a journey through their Borges and Legrand in moving pictures, in photographs, in
films, dresses, and diverse objects, but also a way to set up reflections of their brightness, in magnified and also fortu-
a perspective on the category of star and diva, on what they nately close presence.
Sala Cronopios

HOMENAJE A FABIN BIELINSKY

A Tribute to Fabin Bielinsky

Nos quedamos, claro, con ganas de ms cine de Fabin

Bielinsky. En el ao del dcimo aniversario de su muerte
decidimos no solo recuperar sus pelculas para ver en pan-
talla grande, sino tambin dedicarle esta exhibicin, que
nos permite, de alguna manera, seguir hablando de cine
con Fabin. Porque pensaba en cine de manera apasionada
y certera, y eso se vea en sus pelculas. Y lo veremos en
entrevistas, en brainstormings, en storyboards, en fotos y
mucho ms (tenemos muchas sorpresas inditas) en esta
experiencia-Bielinsky que les proponemos, un manera de
revisar y ampliar su extraordinario legado.
Of course, we wanted more films by Fabin Bielinsky. In the
tenth anniversary of his death we have decided not only to
bring back his films to the big screen, but also dedicate this
exhibition to him, as it somehow allows us to keep talking
about film with Fabin. Because he used to think passion-
ately and effectively about cinema, and you could see that many unreleased surprises), in this Bielinsky Experience
in his films. And we will see that in interviews, brainstorm were proposing to you, a way of revisiting and expanding
sessions, storyboards, picture, and a lot more (we have his extraordinary legacy.

Sala J

426 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 GALERA BAFICI / BAFICI GALLERY

EL ARTE DE CRITERION
Criterions Art

La Coleccin Criterion, o simplemente Criterion, se fund en

1984. Es LA compaa norteamericana dedicada a editar
pelculas clsicas o contemporneas relevantes en video y
salas de cine. Desde su creacin, Criterion ha sido un milagro
para los cinfilos, no solo por descubrir y redescubrir clsicos
(que van desde la obra de Lucrecia Martel a la de Jean Renoir,
pasando por los Beatles o Wes Anderson), sino tambin por
su aproximacin al diseo. Con afiches originales creados por
gente como Daniel Clowes, Eric Skillman, y Betrice Coron,
ensayos de crticos como Kent Jones y Stephanie Zacharek, y
suplementos que enriquecen la experiencia cinematogrfica,
cada edicin de Criterion es un tesoro que expresa de for-
ma fsica la manera en que nuestras mentes cinfilas sienten,
piensan, y quieren al cine.
La muestra El arte de Criterion est compuesta por ms de 70
diseos de las ediciones en DVDs y Blu-rays que expresan la
vasta obra de la compaa.
The Criterion Collection, or Criterion, was founded in 1984. It
is The North American company devoted to releasing impor-
Sala C
tant classic and contemporary films on home video and in
theaters. Since its inception, Criterion has been a film lovers
miracle, not only for the companys decisions when it comes to
discovering and rediscovering classics (ranging from the works
of Lucrecia Martel to those of Jean Renoir, from the Beatles
to Wes Anderson), but also for its approach to design. With
original art created by the likes of Daniel Clowes, Eric Skill-
man, and Betrice Coron, essays by critics such as Kent Jones
and Stephanie Zacharek, and supplements that enhance the
cinematic experience, each Criterion edition is a treasure trove
that presents in physical form the way we feel and think and
care for cinema in our film-buffs brains.
The Art of Criterion exhibit is made up of more than 70 designs
from the companys DVD and Blu-ray releases that showcase
the companys vast oeuvre.

TELOS: EL FANTSTICO MUNDO

DE EUGENE TSSUI
TELOS: The Fantastic World of Eugene Tssui

TELOS: El fantstico mundo de Eugene Tssui presenta la

visin de un arquitecto revolucionario inspirado en el fun-
cionamiento y la forma de la naturaleza. Las ideas de Tssui,
siempre centradas en la sustentabilidad, han estado por
delante de su tiempo durante ms de treinta aos. Tssui
es un hombre que, en sus propias palabras, intenta nada
menos que cambiar el mundo. Esta exposicin muestra
parte de sus proyectos, que incluyen arquitectura, investi-
gaciones cientficas, diseo industrial e indumentaria, por
mencionar algunos.
TELOS: The Fantastic World of Eugene Tssui presents the
vision of a maverick architect inspired by natures form and
function. Tssuis ideas, always focused on sustainability,
have been ahead of their time for over thirty years. Tssui is
a man who, in his own words, is trying to do no less than to
change the world. This exhibition shows part of his proj-
ects, which include architecture, industrial design, clothing
design, scientific researches, just to mention some of them.

Sala 1 + Patio de los Naranjos

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 427

GALERA BAFICI / BAFICI GALLERY

AARDMAN: LA FORMA
DE LA ALEGRA
Aardman: The Form of Joy

Qu es Aardman? Por lo pronto, la compaa responsable de

Wallace y Gromit, los personajes ms famosos de la animacin
inglesa, y de clsicos modernos del gnero como Pollitos en
fuga o Shaun: el cordero. En un mundo en el que la animacin
digital reina, Aardman es una propuesta distinta. En sus ms
de cuarenta aos de historia, Aardman ha creado ms que
publicidades icnicas o personajes invencibles del medio. Ya
sea en animacin cuadro por cuadro con plastilina (su mejor
arma) o en digital, Aardman se diferencia por el trabajo huma-
no volcado en cada proyecto y por la forma en la que refleja
el cine ms puro sin negar modernidad o calidez. A partir del
acceso a decenas de archivos, la muestra Aardman: La forma
de la alegra exhibe esa huella humana en la creacin de Peter
Lord y Nick Park, abarca desde bocetos hasta imgenes docu-
mentales y da cuenta del trabajo de orfebrera que se da en los
sets de las animaciones de la compaa.
What is Aardman? First, it is the company responsible for Wal-
lace and Gromit, the most famous characters in British anima-
Sala 10
tion, and modern classics of the genre such as Chicken Run
or Shaun the Sheep Movie. In a world where digital animation
reigns, Aardman is a different concept. In its more than forty
years of history, Aardman has created more than iconic com-
mercials or invincible characters. Whether in frame-by-frame
clay animation (its finest weapon) or in digital, Aardman stands
out for the human work that puts into every project, and the way
it reflects the purest of cinemas without rejecting modernity or
warmth. By accessing dozens of files, the Aardman: The Form of
Joy exhibition expresses that human print in the creation of Pe-
ter Lord and Nick Park, includes material ranging from sketches
to documentary footage, and shows the precious metalwork
that takes place in the companys animation sets.

KOSICE HIDROESPACIAL
Kosice Hydrospatial

El espacio donde nos recibe Gyula Kosice parece el taller

de un artesano, pero las imgenes en las paredes muestran
las exposiciones del artista alrededor del mundo. Reavivan-
do su propio mito, nos habla de su relacin ntima con el
agua, fundamento de sus esculturas hidrocinticas. Mara-
villado por el movimiento del agua y la luz, le pregunto si
le gustara que realicemos un documental sobre su vida
y obra. Sonre. Tres aos despus nos sumergimos en la
exposicin Kosice hidroespacial, despliegue de la pelcula
que le dio origen. En la oscuridad de la sala, la icnica
gota de agua y la firma en nen de Kosice dialogan con
la proyeccin y fotogramas del film: retrato del artista en
el fluir entre la idea y la obra, la familia y la trayectoria, la
ciencia y la poesa.
Gabriel Saie, director del documental Kosice hidroespacial
The space where Gyula Kosice welcomes us looks like a
craftsmans workshop, but the images on the walls show
exhibits of the artist around the world. Rekindling his own
myth, he talks to us about his intimate relationship with wa-
ter, the fundament of his hydrokinetic sculptures. Dazzled
by the movement of water and light, I ask him if he would
like us to make a documentary about his life and work. He
smiles. Three years later, we immersed ourselves in the
Kosice Hydrospatial exhibit, the unfurling of the film that
originated it. In the darkness of the room, Kosices iconic
drop of water and his signature in neon converse with the
screening and frames from the film: portrait of the artist in
the flow between idea and work, family and career, science
and poetry.
Gabriel Saie, director of the documentary Kosice Hydrospatial

Sala 12

428 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 EL BUENOS AIRES LAB
EN EL MARCO DEL [18] BAFICI
ES POSIBLE GRACIAS A LA COLABORACIN Y EL APOYO DE
En un mundo cinematogrfico en el que se
ha acelerado la velocidad de circulacin de
las pelculas, la visibilidad de los proyectos
el antes del cine cobra mayor importan-
cia. La pelcula por hacerse o por terminar-
se es, cada vez ms, noticia. Hay festivales
que hasta hacen photocalls de fragmentos,
de promesas de pelculas que sern. Quizs
la pelcula en cuestin se vea en la prxima
edicin de ese mismo festival, o quizs en
otro. O quizs nunca se termine. La idea del
BAL es ayudar a que las pelculas ocurran o,
mejor dicho, terminen de ocurrir. Es una ins-
tancia en la que el Bafici se mete en la pro-
duccin, ms all de su rol principal que es el
de exhibidor, el de poner reflectores intensos
sobre las pelculas durante doce das. Reflec-
tores que sirven tambin para iluminar estos
proyectos, estas imgenes que prometen la
pelcula que vendr; esa que, con suerte, tal
vez veremos terminada en alguna prxima
edicin del Bafici, o en alguna otra pantalla.
Este ao el BAL tiene novedades importantes,
ya que quienes lo dirigieron desde su inicio,
Violeta Bava e Ilse Hughan, decidieron que
despus de doce ediciones haba llegado la
hora de cerrar un ciclo y que el BAL siguie-
ra su camino con otra direccin. Violeta e Ilse
contribuyeron a hacer del BAL una cita im-
portante en el calendario anual de proyectos.
En 2013 el BAL lleg a Cannes (BAL Goes to
Cannes) en un hecho pionero que luego fue
imitado por otros festivales. Este ao nos en-
cuentra por un lado agradecidos a Violeta e
Ilse por su dedicacin y su visin, y por otro
recibiendo a la nueva directora del BAL, Agus-
tina Costa Varsi, con los mejores augurios.
Javier Porta Fouz
Director Artstico [18] Bafici | Artistic Director [18] Bafici
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In a film world where the circulation of films
has become faster, the visibility of the pro-
jects the before of film becomes more
important. The film about to be made or fi-
nished is now a piece of news, and increa-
singly so. There are festivals that even do
photocalls of fragments, of promises of films
that will be. Maybe the film in question can
be seen in the next edition of that same fes-
tival, or maybe in another one. Or perhaps
its never finished. The idea of BAL is to help
those films happen or, rather, for them to
finish happening. It is an instance in which
Bafici delves into the production, apart from
its main role, which is that of the exhibitor;
of putting intense spotlights on the films
through the course of twelve days. Spot-
lights that are also good for illuminating tho-
se projects, those images that promise the
film about to come; that which, with luck,
well probably see finished in some future
edition of Bafici, or in another screen.
This year, BAL carries some important news,
because those who directed it since its in-
ception, Violeta Bava and Ilse Hughan, have
decided that after twelve editions it was
time to close a cycle and make BAL continue
its path in another direction. Violeta and Ilse
contributed in turning BAL into an impor-
tant date in the annual calendar of projects.
In 2013, BAL went to Cannes, in a pioneering
event that was later imitated by other festi-
vals. This year finds us thanking Violeta and
Ilse for their dedication and their vision and
welcoming the new director of BAL, Agusti-
na Costa Varsi, with our best wishes.
431
Algunos aos atrs participaba del BAL con
Algunas chicas, pelcula que produje, en una
edicin que por primera vez se concentraba
exclusivamente en los Work In Progress. Ob-
tuvimos varios premios que nos permitieron,
no solo finalizar la pelcula sino desembarcar
en Cannes y luego estrenar en Venecia.
Apenas el ao pasado Ilse y Violeta volvieron
a confiar en m, invitndome a acompaarlas
en el comit de seleccin. Hoy esa confianza
ha vuelto a renovarse, y en conjunto con el
staff del Bafici me han dado la posibilidad de
continuar su tarea de ms de una dcada.
Esta edicin 2016 del BAL volver a con-
centrarse en los Work In Progress. Esta vez
radicalizando la apuesta: hemos dedicado
nuestra bsqueda y seleccin en su mayo-
ra a primeras y segundas pelculas para que
gracias a ellas quizs podamos aventurar un
mapa del futuro cine de la regin.
Nicols Grosso y Brbara Francisco forman
parte de una nueva generacin de cineastas y
productores, y es con su mirada que logramos
descubrir los proyectos que presentamos en
esta edicin. Algunos cineastas ya participa-
ron del BAL con sus primeras pelculas o con
proyectos en desarrollo. Otros materiales son
completamente inditos.
A partir de los materiales que fuimos reci-
biendo, entre los que predominaban proyec-
tos argentinos, arribamos a una seleccin
conformada por producciones originales, que
eligen arriesgar tanto narrativa como formal-
mente. Todas poseen, por caminos diferentes,
formas de la singularidad. Criterio que privi-
legiamos en la seleccin y que, sobre todo,
las diferencian del conjunto de la produccin
latinoamericana.
Agustina Costa Varsi
Directora Buenos Aires Lab (BAL)
432 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
En tanto productora de cine estar al frente de
un espacio como el BAL me otorga la estimu-
lante posibilidad de reflexionar acerca de las
necesidades ms urgentes que enfrentamos
quienes producimos. Qu clase de apoyo
nos es indispensable para hacer pelculas de
forma independiente y que a la vez nos repre-
senten de manera sincera?
Quizs necesitemos un espacio hecho a la
medida de cada proyecto, que no se fosilice
sino que, por el contrario, aliente a sus pro-
tagonistas a enfrentar experiencias y riesgos
que no haban contemplado.
Aunque el BAL ya se encuentra en su 14 edi-
cin, este no puede adoptar sino una forma:
la de la bisagra, la de una transicin. Por de-
lante, muy pronto, nos espera un BAL que les
abrir las puertas a proyectos en desarrollo
y a otros sectores de la industria cuya pre-
sencia es otra de nuestras preocupaciones
centrales: me refiero a la distribucin y la ex-
hibicin. Cualquier cineasta latinoamericano
puede entender por qu.
El proceso recin comienza y con nuevas
energas sobrevienen transformaciones. Agra-
decemos a los socios de siempre que nos
acompaan, otros probablemente regresen
el prximo ao, y tambin tendremos nuevos
aliados en esta aventura que dos pioneras su-
pieron convertir en proeza hace catorce aos
y hoy llega a mis manos.
A few years ago, I participated in BAL with
Some Girls, the first film I produced. It was
the first edition that presented Works in Pro-
gress exclusively, and the awards we won
not only allowed us to complete the film, but
also to disembark in Cannes and, later, in Ve-
nice. That year, BAL was celebrating its tenth
anniversary, and I would never have imagi-
ned such an auspicious future.
Last year, Ilse Hughan and Violeta Bava trus-
ted in me again and invited me to join them
in the selection committee. Today, that trust
has again renewed: Javier Porta Fouz, Ailn
Bressan and the team at Festivales de Buenos
Aires gave me the chance of continuing their
work of more than a decade; the consolida-
tion of that space that encourages young film-
makers, colleagues and accomplices so much.
In this edition, BAL will again be all about the
Works in Progress. This time, the wager be-
comes more radical, with a selection made
up mainly of first and second features. This
way, perhaps we could venture a map of the
future cinema of the region.
Nicols Grosso and Brbara Francisco are
part of a new generation of filmmakers and
producers, and thanks to their points of view
we were able to discover the projects were
presenting in this edition. Some filmmakers
have already been part of BAL with their first
films or with projects in development; other
material is completely unreleased. The ones
we received were mainly Argentine projects,
original and sincere productions that choose
to take a risk both narratively and formally.
Agustina Costa Varsi
Director of Buenos Aires Lab (BAL)
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
As a film producer, being in front of a spa-
ce like BAL gives me the chance of thinking
about the most urgent needs us producers
must face. What kind of backup is necessary
for making films independently but that, at
the same time, represent us in a sincere way?
We look for a space that adapts to the needs
of each project, that doesnt fossilize itself
but, on the contrary, encourages its prota-
gonists to face experiences and risks they
hadnt taken into account.
Even though BAL is already in its 14th edition,
it can only adopt one form: that of a turning
point; a transition. Ahead, very soon, lies a
BAL that will open the doors to projects in
development and other sectors from the in-
dustry whose presence is another of our main
concerns: distribution and exhibition. Any La-
tin American filmmaker can understand why.
The process has just begun, and with new
energies come transformations. We thank
those partners that always accompany us;
others will probably return next year, and
well also have new allies in this adventu-
re that two pioneers were able to turn into
prowess fourteen years ago, and which to-
day is in my hands.
433
JURADO | JURY
ILDA SANTIAGO
Naci en Ro de Janeiro, Brasil, estudi periodismo y cine
en la Universidad Federal Fluminense (UFF). Como periodis-
ta, escribi para los peridicos O Globo y Jornal do Brasil.
Es una de las fundadoras y socias en Grupo Estao, una
empresa que, desde hace 30 aos, trabaja con distribucin
y exhibicin de pelculas art house en Brasil. Es directora
ejecutiva y de programacin del Festival do Rio. En 2013
fue parte del jurado de la seccin Un Certain Regard en el
Festival de Cannes.
HERNN MUSALUPPI
Naci en Buenos Aires en 1971. Es productor de cine y
docente. En sus comienzos produjo pelculas como Silvia
Prieto, La libertad y Mundo gra, entre otras. En 2001, junto
a Natacha Cervi, fund Rizoma, compaa independiente
que en pocos aos se transform en una de las productoras
ms reconocidas de la regin. Desde entonces, sus ms
de treinta pelculas han sido distribuidas comercialmente en
todo el mundo. Se desempea como presidente de la CAIC
(Cmara Argentina de la Industria Cinematogrfica), y es
miembro de ACE (Ateliers du Cinma Europen), adems de
profesor titular de las ctedras de Produccin en la Escuela
Nacional de Experimentacin y Realizacin Cinematogrfica
(ENERC) y la Universidad del Cine. En 2012 public El cine y
lo que queda de m, su primer libro.
PIERRE MENAHEM
Empez su carrera en la industria del cine en 1997 trabajando
en Celluloid Dreams como director de ventas y adquisiciones,
donde supervisaba el marketing de un catlogo de 200 ttulos
de aclamados directores y asista a todos los principales festi-
vales y mercados. Fund Scalpel Films en 2004 y luego cre
una divisin de ventas en la productora MPM Film. Durante
este perodo, fue miembro del jurado en varios festivales (San
Francisco, Jerusaln, Palm Springs y Annecy). Como experto
en ventas internacionales, particip en varios talleres como
el Produire au Sud (Bogot, Bangkok, Recife, Buenos Aires,
Nantes), The Producers Network (Cannes), Mediterranean
Films Crossing Borders (San Sebastin, Berln, Malta) y EAVE.
Tambin es programador del Festival Internacional de Cine de
Belfort y consultor de la Oficina de Cine del Festival de Cine
de Rotterdam.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
She was born in Rio de Janeiro, Brazil, studied journalism
and film at the Federal Fluminense University (UFF). As a
journalist, she wrote for the newspapers O Globo and Jornal
do Brasil. She is one of the founders and partner at Grupo
Estao, a company that, for the past 30 years, has worked
with the distribution and exhibition of art house films in
Brazil. She is the executive and programming director of
the Rio de Janeiro International Film Festival. In 2013, he
was part of the jury at the Un Certain Regard section of the
Cannes Film Festival.
He was born in Buenos Aires in 1971. He is a film producer
and teacher. In his beginnings, he produced such films as
Silvia Prieto, Freedom and Crane World, among others.
In 2001, he founded with Natacha Cervi the independent
company Rizoma, which in just a few years became one of
the most acknowledged production companies in the region.
Since then, its more than thirty films have been distributed
commercially around the world. He is the president of the
CAIC (Argentine Chamber of the Film Industry), and is a
member of ACE (Ateliers du Cinma Europen), apart from
teaching in the Production departments of the National
School of Film Experimentation and Making (ENERC) and the
Universidad del Cine. In 2012, he published El cine y lo que
queda de m, his first book.
He started his career in the film industry in 1997 working
at Celluloid Dreams as director of sales and acquisitions,
supervising the marketing of a catalogue of 200 titles of
acclaimed directors and attending all principal festival
and markets. He founded Scalpel Films in 2004 and then
created a sales division in production company MPM Film.
During this period he served as jury member in several
festivals (San Francisco, Jerusalem, Palm Springs, and
Annecy). As an expert in international sales he participated
in many workshops such as Produire au Sud (Bogot, Bang-
kok, Recife, Buenos Aires, Nantes), The Producers Network
(Cannes), Mediterranean Films Crossing Borders (San
Sebastian, Berlin, Malta), and EAVE. He is also a program-
mer at the Belfort International Film Festival and a consultant
to the Film Office of the Rotterdam Film Festival.
435
 PREMIOS OTORGADOS POR EL JURADO
AWARDS GIVEN BY THE JURY

Premio Cinecolor Premio Pomeranec

Cinecolor Award Pomeranec Award
Cinecolor otorgar un premio para un WIP que consiste Pomeranec otorgar un premio que consiste en 96
en los servicios de 3 (tres) jornadas de conformado, 5 (noventa y seis) horas de posproduccin organizadas de
(cinco) jornadas de correccin de color, 3 (tres) jornadas la siguiente forma:
de arte para efectos visuales con editor, colorista y t

PDIFOUB

IPSBT
EF
FTUVEJP
EF
FEJDJO
EF
TPOJEP
directora de arte, la digitalizacin para DCP y la ge- t

EJFDJTJT

IPSBT
EF
FTUVEJP
EF
QSFNF[DMB
neracin de DCP del largometraje con 10 (diez) llaves. Vigencia: 2 (dos) aos.

Cinecolor will give an award to a WIP consisting of 3 Pomeranec will give an award consisting of 96 (ninety-
(three) days of conforming, 5 (five) days of color correc- six) hours of post-production organized the following way:
tion, 3 (three) days of art for visual effects with editor, t

FJHIUZ

IPVST
PG
TPVOEFEJUJOH
TUVEJP
colorist and art director, the digitalization for DCP and t

TJYUFFO

IPVST
PG
QSFNJY
TUVEJP
the generation of a DCP of the feature with 10 (ten) keys. Validity: 2 (two) years.

Premio Producers Workshop Premio Lahaye

Producers Workshop Award Lahaye Award
Dos productores cuyos proyectos integran el WIP de Lahaye otorgar un premio que consiste en una de las
BAL sern invitados a participar del Producers Works- siguientes opciones:
hop del March du Film del Festival de Cannes 2016. t

WFJOUF

KPSOBEBT
EF
FRVJQBNJFOUP
EF
DNBSB
)%

Cinealta.
Two producers with projects participating in BALs WIP
t
*TMB
EF
FEJDJO
QPS
VOB
KPSOBEB
EF

PDIP

IPSBT
NT

will be invited to participate in the Producers Workshop
correccin de color por 6 (seis) horas.
at the March du Film in the Cannes Film Festival 2016.
Lahaye will give an award consisting of one of the fol-
lowing options:
t

UXFOUZ

EBZT
PG
FRVJQNFOU
XJUI
$JOFBMUB
)%
DBNFSB
t
&EJU
CBZ
GPS
BO

FJHIU
IPVS
EBZ
QMVT
DPMPS
DPSSFDUJPO

for 6 (six) hours.

436 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

Premio Estudio and
Estudio and Award
Estudio and otorgar un premio que consiste en un
mximo de 10 (diez) jornadas de 8 (ocho) horas de pos-
produccin de sonido en las instalaciones de la empresa.
El premio comprende tanto las salas y los equipos nece-
sarios para los trabajos que de comn acuerdo se esti-
pulen como la mano de obra de un operador de edicin,
mezcla o grabacin de sonido calificado.
Estudio and will give an award consisting of a maxi-
mum of 10 (ten) 8 (eight)-hour days of sound post-pro-
duction in the companys facilities. The award includes
both the studios and the equipment necessary for the
works that are mutually agreed upon as the labor of a
qualified sound editing, mixing or recording operator.
Premio Universidad del Cine
Universidad del Cine Award
Universidad del Cine otorgar un premio que consiste
en la posproduccin del triler de la pelcula, imagen,
correccin de color y DCP.
Universidad del Cine will give an award consisting of the
post-production of the films trailer, image, color correc-
tion and DCP.
[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Premio Talkbox
Talkbox Award
Talkbox otorgar traduccin al ingls y edicin de sub-
ttulos del corte final a un proyecto de largometraje del
BAL. El formato del archivo de subtitulado puede ser
.srt, .txt, .stl y/o .xml o el formato compatible con el
editor de video que utilicen. Tambin incluye lista de
dilogos en ingls en archivo .doc.
Vigencia: 2 (dos) aos.
Talkbox will award the English translation and subtitle
editing of the final cut of a feature-film project from BAL.
The format of the subtitle file can be .srt, .txt, .stl and/or
.xml or the format compatible with the video editor used.
It also includes an English dialogue list in a .doc file.
Validity: 2 (two) years.
Premio Sinsistema
Sinsistema Award
Sinsistema otorgar un premio que consiste en un
online conform, 10 (diez) jornadas de uso de sala de
correccin de color y un Master Encoding DCP para un
largometraje de hasta 120 minutos.
Sinsistema offers an award consisting of one online con-
form, 10 (ten) shifts for the use of the color correction
room and a DCP Master Encoding for a feature length film
of up to 120 minutes.
437
BAL WIP
Argentina / Francia / Alemania - Argentina / France / Germany
1922
Martn Mauregui
En 1921 el Ejrcito Argentino viaja a la Patagonia a repri-
mir una huelga sindical. Ms de mil trabajadores son fu-
silados. Dos de ellos logran escapar. Uno es el Viejo, el
otro es el Joven, y no se conocen. En la vspera de Ao
Nuevo encuentran refugio de la tormenta en un precario
rancho en medio de la nada. Los dos son anarquistas,
los dos estn escapando del ejrcito, y juntos empren-
den un viaje con la esperanza de cruzar las montaas
hacia Chile. Durante la semana en la que transcurre este
relato la primera de 1922, la huida se transforma por
la irrupcin brutal de la ficcin y la aventura: la Viuda, los
Indios, el Aristcrata, el Terrateniente, los comienzos del
cine, las Hijas suicidas de Marx, las drogas psicodlicas,
las Putas Justicieras, la ballena envenenada, el Obrero
Monstruo Mientras tanto, dos hombres sin nombres
intentan conocerse.
438 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
In 1921, the Argentine Army travels to Patagonia in order
to push back a union strike. More than a thousand work-
ers are shot dead. Two of them manage to escape. One
of them is the Old One, the other is the Young One,
and they dont know each other. In New Years Eve, they
find shelter from the storm in a precarious ranch in the
middle of nowhere. Both of them are anarchists, both
of them are running from the army and, together, they
embark on a trip with the hope of crossing the mountains
to Chile. During the week the story takes place in the
first week of 1922, the getaway is transformed by the
brutal irruption of fiction and adventure: the Widow, the
Indians, the Aristocrat, the Landowner, the beginnings of
cinema, Marxs Suicidal Daughters, psychedelic drugs,
the Avenging Whores, the poisoned whales, the Monster
Worker Meanwhile, two men without names try to get
to know each other.
 1922 | BAL WIP

DIRECTOR / DIRECTOR

MARTN MAUREGUI
Estudi en la Universidad del Cine. Es uno de los directo-
res de El amor (primera parte). Como guionista, trabaj con
Pablo Trapero, Damin Szifron, Walter Salles y Peter Weber,
entre otros. Es socio fundador de La Unin de los Ros. 1922
es su pera prima como director.
He studied at the Universidad del Cine. He is one of the
directors of Love (Part One). As a screenwriter, he has
worked with Pablo Trapero, Damin Szifron, Walter Salles
and Peter Weber, among others. He is founding partner at
La Unin de los Ros. 1922 is his first feature as a director.

PRODUCTORES / PRODUCERS

AGUSTINA LLAMBI CAMPBELL Y FERNANDO BROM

Produjeron El estudiante (Santiago Mitre, 2011), Los salvajes
(Alejandro Fadel, 2012), Los posibles (Santiago Mitre y Juan
Onofri Barbato, 2013), El cielo del centauro (Hugo Santiago,
2015) y La patota (Santiago Mitre, 2015). Actualmente desa-
rrollan proyectos de Fadel, Mitre y Gustavo Biazzi.
They produced The Student (Santiago Mitre, 2011), The
Wild Ones (Alejandro Fadel, 2012), Los posibles (Santiago
Mitre and Juan Onofri Barbato, 2013), El cielo del centauro
(Hugo Santiago, 2015) and Paulina (Santiago Mitre, 2015).
They are currently developing projects by Fadel, Mitre and
Gustavo Biazzi.

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

1922 era una poca terrible, pero tambin joven, en la que todo era
posible y el mundo se estaba definiendo a s mismo. Comunismo,
anarquismo, fascismo eran futuros posibles, mientras caan impe-
rios, nacan estados y las mujeres luchaban por tener los mismos
derechos que los hombres. Al sur de la Argentina, al fin del mundo,
una tierra casi despoblada donde todos hasta los indgenas son
extranjeros, llegaron estas y otras ideas, a veces incluso malinter-
pretadas o reformuladas, y eclosionaron con los viejos mitos y las
eternas falencias sociales. Esto produjo una multiplicidad de histo-
rias, violencias y contradicciones, que son el escenario para esta
pelcula.
1922 was a terrible time, but also a young one, in which everything
was possible and the world was defining itself. Communism, anar-
chism and fascism were possible futures, while empires fell, states
were born and women fought for the same rights as men. These and
other ideas reached the south of Argentina, the end of the world,
an almost unpopulated land where everyone even the natives is
foreign, sometimes misinterpreted or reformulated, and blended
with the old myths and eternal social shortcomings. This caused
a multiplicity of stories, violence and contradictions, which are the
scenery for this film.

Informacin Tcnica / Technical Information

Ttulo / Title: 1922
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: 4K
Formato de proyeccin / Screening format: DCP Contacto / Contact
Duracin estimada / Estimated length: 150 La Unin de los Ros. Buenos Aires, Argentina
Presupuesto estimado / Estimated budget: USD 1.400.000 T 54 11 4815 4677
Fondos recaudados / Money in place: USD 500.000 E info@launiondelosrios.com
W launiondelosrios.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 439

BAL WIP
Argentina

AL DESIERTO
To the Desert
Ulises Rosell

Polvorientos, cercados por la sed, vestidos con sus mejo- Dusty, fenced by thirst, dressed in their best outfits,
res ropas, Julia y Armando caminan cruzando el desierto Julia and Armando walk across the Patagonian desert.
patagnico. Cazan, hacen fuego y duermen a la intempe- The hunt, start fires and sleep out in the open. Slowly,
rie. Lentamente, ese cautiverio al aire libre se transfor- that outdoor captivity turns into a survival test. With no
ma en una prueba de supervivencia. Sin posibilidad de chance of escape in the middle of infinite distances, Julia
escape en medio de las distancias infinitas, Julia sigue keeps going over how they got there. Has it always been
repasando cmo lleg hasta all. Acaso siempre se trat a premeditated plan? How could she not have suspected
de un plan premeditado? Cmo no sospech nada du- anything during their first encounter, when he introduced
rante el primer encuentro, cuando l se present como himself as a worker at a company that was being set up
operario de una empresa que se estaba instalando y le and asked to accompany her to a job interview? Could it
propuso acompaarla a una entrevista de trabajo? Es be possible that the kidnapping was a consequence of a
posible que el secuestro haya sido consecuencia de un delusion from Armando due to the vans rollover? Even
desvaro de Armando producto del choque y vuelco de la though the answers make sense to sheriff Prieto, whos
camioneta? Si bien las respuestas tienen sentido para el in charge of the investigation, they will soon stop mak-
comisario Prieto, a cargo de la investigacin, pronto de- ing sense to Julia. After all, why would that unexpected
jarn de tener sentido para Julia. Despus de todo, por and intense life be less desirable than the one she led
qu esa vida impensada e intensa sera menos desea- weeks before, when she was working as a waitress at
ble que la que llevaba semanas atrs, cuando trabajaba the casino of an oil city?
como camarera en el casino de una ciudad petrolera?

440 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 AL DESIERTO | BAL WIP

DIRECTOR / DIRECTOR

ULISES ROSELL
Codirigi El descanso, Mejor Pelcula en Bafici. Dirigi
Bonanza, Mejor Pelcula en IFFMH; Sofacama y El etngra-
fo, Mencin del Jurado en La Habana y Mejor Pelcula en
Biarritz. Fue elegido para la Cannes Cinfondation Rsiden-
ce, el Festival de Amiens y Rockefeller Foundation.
He co-directed El descanso, Best Film at Bafici. He directed
Bonanza, Best Film at IFFMH; Sofabed and El etngrafo, Jury
Mention at Havana and Best Film at Biarritz. He was chosen
for Cannes Cinfondation Rsidence, the Amiens Festival
and the Rockefeller Foundation.

PRODUCTORES / PRODUCERS

EZEQUIEL BOROVINSKY
Comenz su carrera como montajista y trabaj con direc-
tores como Lisandro Alonso, Pablo Trapero y Francis Ford
Coppola. Luego se avoc a la produccin participando como
coproductor en Jauja, de Lisandro Alonso, y El cielo del
centauro, de Hugo Santiago.
He started his career as an editor and worked with such
directors as Lisandro Alonso, Pablo Trapero and Francis
Ford Coppola. Later, started producing, and co-produced
Lisandro Alonsos Jauja and Hugo Santiagos El cielo del
centauro.

ALEJANDRO ISRAEL
Es fundador de Ajimolido Films. Ha participado, entre otros,
de los largometrajes Invasin, de Abner Benaim; La parte
ausente, de Galel Maidana; Juan y Eva, de Paula de Luque;
Zonda, folklore argentino, de Carlos Saura; Pjaros volando,
de Nstor Montalbano; y La forma exacta de las islas, de
Casab-Dieleke.
He is the founder of Ajimolido Films. He has worked in such
features as Abner Benaims Invasion; Galel Maidanas La
parte ausente; Paula de Luques Juan y Eva; Carlos Sauras
Argentina; Nstor Montalbanos Pjaros volando; and Casa-
b-Dielekes La forma exacta de las islas.

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

La primera vez que fui a Comodoro Rivadavia, encontr ms refe-
rencias al desierto tal como lo cuenta el cine que a las imgenes
de los folletos tursticos. El mundo petrolero, el sol achicharrante, la
chatarra acumulndose en la periferia, el viento enloquecedor des-
parramando jirones de nylon en cada obstculo. Me interesa contar
esa hostilidad y el tipo de relaciones que genera. Planteo una historia
y un rodaje librados a esas inclemencias. Vengo de filmar un docu-
mental donde el mero registro de lo real provoca que el relato se
cargue de combinaciones de sentido ms complejas e imprevistas
que las pensadas frente a una computadora. Intentamos conservar
ese espritu en este nuevo trabajo.
The first time I went to Comodoro Rivadavia, I found more refer-
ences to the desert as told by cinema than by the images of touristic
brochures. The oil world, the sweltering sun, junk piling up in the out-
skirts, the maddening wind scattering nylon bits at every obstacle.
Im interested in narrating that hostility and the kind of relationships
it generates. Im approaching a story and a shoot that depend on that
harshness. I come from shooting a documentary where the mere
capturing of reality fills the story with combinations of sense that
are more complex and unexpected than those thought in front of a
computer. We try to keep that spirit in this new work.

Informacin Tcnica / Technical Information

Ttulo / Title: Al desierto / To the Desert
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: Digital 2K
Formato de proyeccin / Screening format: Digital HD Contacto / Contact
Duracin estimada / Estimated length: 90 Wanka Cine. Buenos Aires, Argentina
Presupuesto estimado / Estimated budget: USD 457.932 T 54 11 4553 0998
Fondos recaudados / Money in place: USD 282.416 T boro@wanka.tv
W wanka.tv

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BAL WIP
Brasil / Portugal - Brazil / Portugal
ANTNIO UM DOIS TRS
Antnio One Two Three
Leonardo Mouramateus
Uno: Cuando Antnio, un joven portugus, huye de casa,
pasa la noche en el departamento de su ex novia. Al da
siguiente conoce a una nueva husped, una joven brasile-
a llamada Dbora.
Dos: Un director teatral, Johnny, monta su primera obra en
Portugal. En el gaffer, Antnio, consigue ayuda para contar
la historia de un joven que se escap de su casa.
Tres: Cuando Dbora va al teatro a ver una adaptacin de
una obra rusa, ve a un joven actor, Antnio, quien parecie-
ra estar mirndola a los ojos.
442 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
One: When Antnio, a Portuguese young guy, runs away
from home, he spends the night at his ex-girlfriends
apartment. The next morning, he meets a new guest, a
young Brazilian girl named Dbora.
Two: A theater director, Johnny, stages his first play in
Portugal. He finds in the gaffer, Antnio, the help to tell
the story of a young boy who ran away from home.
Three: When Dbora goes to the theater to see an adap-
tation of a Russian tale, she sees a young actor, Antnio,
who seems to be looking at her in the eye.
 ANTNIO UM DOIS TRS | BAL WIP

DIRECTOR / DIRECTOR

LEONARDO MOURAMATEUS
Escribi y dirigi varios cortos que ganaron premios y fueron
proyectados en festivales internacionales prestigiosos como
Locarno, Cinma du Rel e IndieLisboa, entre otros. Antnio
um dois trs es su primer largometraje.
He wrote and directed a number of award-winning shorts
screened at prestigious international festivals such as
Locarno, Cinma du Rel and IndieLisboa, among many
others. Antnio um dois trs is his feature debut.

PRODUCTOR / PRODUCER

GUSTAVO BECK
Produjo las peras primas Muito romntico (2016), Il Soleg-
no (2015), A morte diria (2015) y Winter/Miracle (2012), al
igual que varios cortos. Tambin produjo y dirigi los docu-
mentales O arquiplago (2014), O inverno de Zeljka (2012),
Chantal Akerman, de c (2010), A casa de Sandro (2009)
e Ismar (2007).
He produced the feature debuts Muito romntico (2016),
Il Solegno (2015), A morte diria (2015) and Winter/Miracle
(2012), as well a number of shorts. He also directed and
produced the documentaries O arquiplago (2014), O inver-
no de Zeljka (2012), Chantal Akerman, de c (2010), A casa
de Sandro (2009) and Ismar (2007).

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Comienzo desde el cuerpo de un joven. Cuando pienso en l, creo que
me recuerda a Charlot, porque ambos existen de una manera muy
vivaz. Estos cuerpos no se avergenzan de saltar y moverse. Inventan
maneras de mantenerse vivos. Me gusta notar que los peligros en
el camino estn ah porque este joven todava no vive en el mundo
adulto. Es una confrontacin fsica y social con otros cuerpos y con la
ciudad a su alrededor. El joven tiene poco ms de veinte aos y vive
en Lisboa. Esta es una pelcula que evoca el misterio de las vidas que
chocan con otras. Capas entrecruzadas por las heridas profundas del
amor. Tal vez el nombre de este joven debera ser Antnio.
I start from the body of a young man. When I think about this young
man, I guess he reminds me of Charlot, because both of them exist
in such a lively way. These bodies show no shame in jumping and
moving around. They invent ways of keeping themselves alive. I like
to notice that the dangers ahead are there because this boy is not
yet living in the adult world. Its a physical and social confrontation
with other bodies and the city around him. This boy is in his early
twenties, and lives in Lisbon. Its a film that evokes the mystery of
lives colliding with each other. Layers crossed by the deep cuts of
love. Maybe this boys name should be Antnio.

Informacin Tcnica / Technical Information

Ttulo / Title: Antnio um dois trs (Antnio One Two Three)
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: Digital
Formato de proyeccin / Screening format: DCP Contacto / Contact
Duracin estimada / Estimated length: 95 If You Hold a Stone. Rio de Janeiro, Brasil
Presupuesto estimado / Estimated budget: USD 40.000 T 1 646 385 9872
Fondos recaudados / Money in place: USD 32.000 E gusbeck@gmail.com
W ifyouholdastone.com

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BAL WIP
Argentina

EL FUTURO PERFECTO (Ttulo tentativo)

The Perfect Future (Working title)
Nele Wohlatz

Xiaobin, una joven inmigrante china en Buenos Aires, bus-
ca un camino para atravesar las contradicciones con las
que se enfrenta en su nueva vida cotidiana. Sus padres
quieren que se case con un chino de mejor situacin eco-
nmica y que, al igual que ellos, viva aislada de la nue-
va sociedad. Cuando Xiaobin llega a Argentina, no habla
una palabra en espaol. No obstante, a los pocos das ya
tiene un nuevo nombre, Beatriz, y un primer trabajo en
un supermercado. A escondidas de sus padres, empieza
una vida paralela que incluye una escuela de espaol y un
romance con Vijay, un ingeniero informtico de la India.
Con las clases de idioma, la pelcula despliega una ldica
estructura dramtica. Acompaamos el proceso de adap-
tacin de Xiaobin a su nuevo pas. Para experimentarlo,
la pelcula combina elementos documentales con una re-
construccin ficcionalizada del pasado de Xiaobin desde
su llegada a Buenos Aires. Xiaobin tambin usa la pelcula
como sala de ensayo para probar otros futuros. Escribe
diferentes finales para la pelcula, inventando diferentes
soluciones para el conflicto con sus padres, pero cada uno
termina de manera trgica. El guion de la pelcula inter-
viene sobre su vida en ese momento crucial en el que
reinventa su nuevo yo.
Xiaobin, a young Chinese immigrant in Buenos Aires,
looks for a path to cross the contradictions she faces
in her new everyday life. Her parents want her to marry
a well-off Chinese man and live isolated from society,
like them. When Xiaobin arrives in Argentina, she doesnt
speak a word of Spanish. However, a few days later she
already has a new name, Beatriz, and her first job at
a supermarket. Behind her parents back, she starts
a new parallel life that includes a Spanish school and
a romance with Vijay, an I.T. engineer from India. With
the Spanish lessons, the film deploys a playful narrative
structure. We accompany Xiaobin in the process of ad-
aptation to her new country. In order to experience it, the
film combines documentary elements and a fictionalized
reenactment of Xiaobin since her arrival in Buenos Ai-
res. Xiaobin also uses the film as a rehearsal room to
test other possible futures. She writes different endings
for the film, inventing different outcomes for her conflict
with her parents, but all of them end up tragically. She
intervenes the script of the film about her life during that
crucial moment when she reinvents her new self.

444 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 EL FUTURO PERFECTO | BAL WIP

DIRECTORA / DIRECTOR

NELE WOHLATZ
Naci en Alemania y vive en Argentina. Estudi escenografa
en Karlsruhe. Particip en el Laboratorio de Cine de la UTDT
en Buenos Aires y fue becada del CIA. En 2013 realiz su
primer largo Ricardo Br (codirigido con Gerardo Naumann),
que obtuvo premios en FID Marseille, Duisburger Filmwoche
y Antofadocs.
She was born in Germany and lives in Argentina. She stud-
ied production design in Karlsruhe. She took part in UTDTs
Film Lab in Buenos Aires and received a scholarship from
the CIA. In 2013, she made her first feature Ricardo Br
(co-directed with Gerardo Naumann), which won awards at
FID Marseille, Duisburger Filmwoche and Antofadocs.

PRODUCTORA / PRODUCER

CECILIA SALIM
Estudi produccin cinematogrfica en la ENERC. En 2012 She studied film production at the ENERC. In 2012, she
particip del Laboratorio de Cine del UTDT. En 2015 y 2016 took part in UTDTs Film Lab. In 2015 and 2016, she was
fue seleccionada para el Berlinale Talents. Fue directora de selected for the Berlinale Talents. She was production direc-
produccin de Los dueos. Junto a Georgina Baisch fund tor in Los Dueos. Along with Georgina Baisch, she founded
Murillo Cine, cuya pelcula fundacional fue Hijos nuestros. Murillo Cine, whose founding film was Hijos nuestros.

DECLARACIN DE LA DIRECTORA / DIRECTORS STATEMENT

Para manejarnos con un idioma extranjero tenemos que actuar. Los
libros de idioma nos ensean frases que no sirven para lo que de-
seamos decir. Son el texto de un rol que an no conocemos, que
es incmodo. Lo que le pasa a Xiaobin me pas a m luego de que
me mud a la Argentina. Tambin tuve que traducir mi viejo yo en
uno nuevo que an no conoca. Pensaba que nunca iba a ser parte
de esta sociedad, igual que Xiaobin, que una vez me dijo: Cuando
espero en la parada del colectivo quiero parecerme a los dems.
Cuando tenga dinero, voy a operarme los ojos y los cachetes. En
nuestro proceso de trabajo, su condicin de extranjera define su for-
ma de actuar y se apropia de su nuevo rol.
In order to manage in a foreign language, we have to act. Foreign
language textbooks teach us phrases that arent good for what we
want to say. They are the text of a role we do not know yet; that is
awkward to us.What happens to Xiaobin happened to me after I moved
to Argentina. I also had to translate my old self into a new one I didnt
know yet. I thought I was never going to become part of this society,
like Xiaobin, who once told me, When I wait at the bus stop, I want
to look like the others. Once I have the money, Im going to have eye
and cheek surgery. During our working process, her foreign condition
defines her way of acting and she takes over her new role.

Informacin Tcnica / Technical Information

Ttulo / Title: El futuro perfecto (Ttulo tentativo)
The Perfect Future (Working title)
Gnero / Genre: Documental hbrido / Hybrid documentary
Formato de rodaje / Shooting format: ProRes 422 HQ
Contacto / Contact
Formato de proyeccin / Screening format: DCP
Murillo Cine. Buenos Aires, Argentina
Duracin estimada / Estimated length: 70
T 54 9 11 5468 4076
Presupuesto estimado / Estimated budget: USD 75.123
E sazysalim@gmail.com
Fondos recaudados / Money in place: USD 47.741
W murillocine.com

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BAL WIP
Brasil / Brazil
ELON NO ACREDITA NA MORTE
Elon Doesnt Believe in Death
Elon no cree en la muerte
Ricardo Alves Jr.
Madalena, la mujer de Elon, no volvi nunca a casa des-
pus del trabajo. Elon la espera y se preocupa. Comienza
a desandar las rutas diarias de Madalena. La busca en
su trabajo, en lo de sus padres y en lo de sus amigos. Se
desespera cada vez ms. Nadie tiene idea de su parade-
ro. A la maana siguiente, Elon va a la comisara, hace
la denuncia y visita hospitales y morgues, esperando lo
peor. Este es un momento bisagra en la vida de Elon.
Camina solo por las calles de Belo Horizonte en busca de
cualquier tipo de noticia acerca de la repentina y miste-
riosa desaparicin de su mujer. Todo el espacio, todos los
objetos y todos los cuerpos le recuerdan a Madalena. Su
invisibilidad se hace presente en lo visible. La mirada de
Elon pareciera perderse en figuras oscuras, en sombras,
en caras entre la multitud. Todo su entorno cobra otra
forma, y tanto Elon como los dems comienzan a hacer
nuevas preguntas y tener nuevas dudas. A Elon lo despi-
den del trabajo y acta de forma violenta y desesperada.
Est perdiendo el juicio. El mundo alrededor de l parece
un lugar extrao. La realidad lo engaa, y l est negado. feels pain, but can he deceive reality?
Insiste en continuar con su bsqueda. Siente dolor, pero
puede engaar a la realidad?
446 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Elons wife, Madalena, hasnt come back home from work.
Elon waits and gets worried. He starts retracing Madale-
nas daily routes. He searches for her at her workplace, her
familys and friends houses. He gets more and more des-
perate. No one has any clue about her whereabouts. The
morning after, Elon goes to the police station, files a report
and visits hospitals and morgues looking for her, expecting
the worst. This is a pivotal moment in Elons life. Alone,
he wanders around Belo Horizonte looking for any kind of
news about the sudden and mysterious disappearance of
his wife. Every inch of space, all objects and bodies remind
him of Madalena. Her invisibility lies in the visible. Elons
gaze seems lost in dark figures, in shadows, in faces in
the crowd. Everything around him takes on a new form,
and both Elon and the others start asking new questions
and having new doubts. Elon is fired from work and acts
violently in despair. Hes losing it. The world around him
now seems like a strange place. Reality deceives Elon, and
he stays in denial. He insists and continues his search. He
 ELON NO ACREDITA NA MORTE | BAL WIP

DIRECTOR / DIRECTOR

RICARDO ALVES JR.

Estudi en la Universidad del Cine y dirigi premiados cortos
como Tremor (Locarno, Bafici), Permanncias (Semana de la
Crtica, Cannes 2011) y Convite para jantar com o camarada
Stalin (Rotterdam, IndieLisboa). Elon no acredita na morte
es su primer largometraje (Hubert Bals Fund 2012).
He studied at the Universidad del Cine and directed award-
winning shorts like Tremor (Locarno, Bafici), Permanncias
(Critics Week, Cannes 2011) and Convite para jantar com
o camarada Stalin (Rotterdam, IndieLisboa). Elon Doesnt
Believe in Death is his first feature (Hubert Bals Fund 2012).

PRODUCTORES / PRODUCERS

THIAGO MACDO CORREIA

Produjo los films Ela volta na Quinta (FID, Bafici 15), Pouco He produced the films Ela volta na Quinta (FID, Bafici 15),
mais de um ms y Quintal (Quincena de los Realizadores). About a Month and Quintal (Directors Fortnight). He is an
Es socio de EntreFilmes junto a Ricardo Alves Jr. associate of EntreFilmes along with Ricardo Alves Jr.

MICHAEL WAHRMANN
Es director y productor, socio de Sancho Filmes. Entre sus
pelculas estn Avanti Popolo (Mejor Pelcula en Cinemaxxi
Rome IFF; Bafici 13), Avs (Berlinale) y Oma (Mejor Corto
Las Palmas IFF).
He is a director and producer, as well as an associate at
Sancho Filmes. His films include Avanti Poplo (Best Film at
Cinemaxxi Rome IFF; Bafici 13), Avs (Berlinale) and Oma
(Best Short at Las Palmas IFF).

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Desaparecer es volverse invisible. Es dejar de ser material, pero no
necesariamente implica ser ausencia. Alguien que desaparece sin
explicacin sigue estando, de algn modo, presente: se vuelve un
despliegue de posibilidades, como un espectro de s mismo. Elon no
cree en la muerte naci de un encuentro que tuve con Elon, un hom-
bre con una relacin particular con la muerte. Luego del fallecimien-
to de su mujer qued muy intrigado por su imagen y percepcin de la
vida. Una vez me dijo que no crea en la muerte, y comenc a intentar
entender su mundo. Era un hombre que haba decidido construirse
un personaje, vivir una ficcin realista o era una realidad ficcio-
nal? y enfrentar al mundo con sus peculiares puntos de vista en
cuanto a los conceptos de la existencia, la finitud y la muerte.
To disappear is to become invisible. It is no longer to be material, but
not necessarily become absence. Someone that disappears without
any explanation remains present in a way: turns into a deployment of
possibilities, like a ghost of itself. Elon Doesnt Believe in Death was
born from an encounter that I had with Elon, a man with a peculiar
relationship with death. After the death of Elons wife I became very
intrigued by his image and perception of life. He once said to me
that he didnt believe in death, and I started trying to understand his
world. He was a man that had decided to build himself a character, to
live a realistic fiction or could it be a fictional reality? and face the
world with his own peculiar points of view regarding the concepts of
existence, finiteness and death.

Informacin Tcnica / Technical Information

Ttulo / Title: Elon no acredita na morte / Elon Doesnt Believe in Death
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: 2K Contacto / Contact
Formato de proyeccin / Screening format: 2K Entre Filmes. Belo Horizonte, Brasil
Duracin estimada / Estimated length: 80 Sancho Filmes. San Pablo, Brasil
Presupuesto estimado / Estimated budget: USD 300.000 T 55 31 9 9377 5490 / 55 11 9 8277 9976
Fondos recaudados / Money in place: USD 202.000 E entrefilmes@gmail.com / misha@sanchofilmes.com
W entrefilmes.com.br / sanchofilmes.com

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Argentina
FIN DE SEMANA
Moroco Colman
Carla llega para acompaar a Martina, luego de aos de
ausencia. La relacin entre ellas es distante, hay algo
de lo que no se habla; tal vez una culpa o un rencor se
interpone. Martina tiene encuentros furtivos con Diego,
hombre que la dobla en edad. Ambos se someten a un
juego sexual fuerte y descontrolado. En los mrgenes
del lago, vecinos voluntarios realizan la recoleccin de
la basura costera; all Carla atestigua una rara situacin
entre Martina y Diego. Luego, a hurtadillas, sigue a Diego
y lo enfrenta. Cuando Martina se entera, se enfurece,
discute con Carla y se va de la casa. Entonces, Carla se
escapa hacia una noche de excesos y desborde sexual.
Cuando vuelve a la casa, Martina la encuentra en un
estado desastroso y la ayuda a meterse en la cama. Al
otro da, algo ha cambiado entre ellas.
448 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Carla arrives to accompany Martina after years of ab-
sence. The relationship between them is distant, theres
something they dont talk about; maybe guilt or a grudge
stands in their way. Martina has furtive encounters with
Diego, a man twice her age. Both of them submit to a
strong, out-of-control sexual game. In the margins of the
lake, volunteer neighbors collect trash from the shore;
there, Carla witnesses a strange situation between and
Diego. Later, she stealthily follows Diego and confronts
him. When Martina finds out, she gets furious, she has an
argument with Carla, and leaves home. Carla escapes to
a night of sex and excess. When she returns home, Mar-
tina finds her in terrible shape and helps her get into bed.
The day after, something has changed between them.
 FIN DE SEMANA | BAL WIP

DIRECTOR / DIRECTOR

MOROCO COLMAN
Naci en Crdoba en 1969. Es arquitecto y realizador audio-
visual. Ha realizado el cortometraje Fin de semana, seleccio-
nado por el Festival de San Sebastin en 2010. El largome-
traje del mismo nombre (Fin de semana ) es su pera prima.
He was born in Crdoba in 1969. He is an architect and
filmmaker. He made the short Fin de semana, selected for
2010s San Sebastin Film Festival. The feature film of the
same name is his debut film.

PRODUCTORA / PRODUCER

SOFA CASTELLS
Naci en Santa Fe en 1975. A los 15 aos se traslad a
Crdoba, lugar en el que vive actualmente. Produjo Fin de
semana, corto de Moroco Colman (San Sebastin 2010);
La quietud, corto de Ins Barrionuevo (Locarno 2013) y
Miramar, largometraje de Fernando Sarqus (Bafici 2015).
She was born in Santa Fe in 1975. At 15, she moved to
Crdoba, where she currently lives. She produced Fin de
semana, short by Moroco Colman (San Sebastin 2013),
La quietud, short by Ins Barrionuevo (Locarno 2013); and
Miramar, feature by Fernando Sarqus (Bafici 2015).

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Tengo inters en explorar la restitucin de los vnculos rotos y cmo
en ese intento emerge la incapacidad de las personas de conectarse
entre s, la imposibilidad de tender puentes para buscar una reconci-
liacin. Cmo se relacionan los personajes con el pasado que est
ahora presente como un fantasma? Qu es lo que compone a ese
fantasma? Tambin me interesa lo formal como herramienta narra-
tiva, como exploracin y bsqueda. Intento que trama, conflicto y
forma dialoguen como una unidad slida, y que esta vaya transfor-
mndose a modo de instalacin en movimiento, segn el estado de
nimo interno de los personajes y su vnculo.
Im interested in exploring the restitution of broken bonds and how,
in that attempt, the incapacity for people to connect with each other
emerges, as well as the impossibility of building bridges in order to
look for a reconciliation. How do the characters relate to the past
that is now present as a ghost? What is that ghost made of? Im also
interested in form as a narrative tool, as an exploration and an ap-
proach. I try to make the plot, conflict and form converse a solid unit,
and for it to transform like an installation in motion, according to the
characters inner state of mind and their bond.

Informacin Tcnica / Technical Information

Ttulo / Title: Fin de semana
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: 4K
Formato de proyeccin / Screening format: DCP
Duracin estimada / Estimated length: 70 Contacto / Contact
Presupuesto estimado / Estimated budget: USD 310.000 Ms All Productora. Ciudad de Crdoba, Argentina
Fondos recaudados / Money in place: USD 229.500 T 54 9 351 389 9068
E sofiacastells@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 449

BAL WIP
Argentina / Austria / Corea - Argentina / Austria / Korea
LOS DECENTES
Lukas Valenta Rinner
Beln, una joven de 30 aos, encuentra trabajo como
empleada domstica cama adentro en un exclusivo barrio
privado en la provincia de Buenos Aires. All descubre lo
que es la vida en esta comunidad: las revisiones diarias
al salir y entrar, las amplias calles vacas que advierten
una velocidad mxima de 30 km/h y la pulcra calma de
este espacio cercado. Los fines de semana tiene citas con
Garita, uno de los guardias de seguridad del lugar. Juntos
recorren espacios del conurbano: un viejo parque de di-
versiones, un telo temtico, etc. Beln descubre que, tras
el cerco que protege el barrio privado, se alza un mundo
extrao; oye la msica que proviene de este lugar desco-
nocido y decide ir a ver de qu se trata. Descubre un es-
pacio de vegetacin tupida y con aisladas construcciones
sin aparente utilidad. Se trata de un club nudista, donde
la gente pasea distendida, otros tienen sexo, hacen asado
o simplemente leen. Poco a poco, Beln se va insertando
en este mundo nuevo y pasa cada vez ms tiempo all.
La tensin entre el country y el club nudista crece expo-
nencialmente, mientras Beln transita entre estos mundos
contradictorios, destinados a un trgico final.
450 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Beln, a 30-year-old woman, lands a job as a live-in
maid in an exclusive private neighborhood in the prov-
ince of Buenos Aires. There, she discovers what life is
like in this community: the inspections when entering
and exiting the place, the wide empty streets where the
maximum speed is 30 km/h and the neat calm of this
enclosed space. Every weekend she goes on dates with
Garita, one of the security guards. Together, they walk
around suburban spaces: an old amusement park, a
themed motel, et cetera. Beln discovers that beyond the
fence that protects the private neighborhood is a strange
world; she hears the music coming from this unknown
place and decides to go and see what its about. She
discovers a space of thick vegetation and isolated struc-
tures that do not appear to be useful. It is a nudist club
where some people walk around relaxed, others have
sex, make barbecue or simply read. Little by little, Beln
starts becoming part of this new world, and spends more
and more time there. The tension between the neighbor-
hood and the nudist club grow exponentially, while Beln
moves between these two contradicting worlds heading
for a tragic outcome.
 LOS DECENTES | BAL WIP

DIRECTOR / DIRECTOR

LUKAS VALENTA RINNER

Estudi direccin cinematogrfica en la Universidad del
Cine. Parabellum, su primer largometraje, se estren en
competencia del IFF Rotterdam y, tras ganar premios en
Jeonju IFF, Diagonale y Mar del Plata, se present en ms
de 40 festivales internacionales.
He studied filmmaking at the Universidad del Cine. Para-
bellum, his first feature, premiered as part of the competi-
tion at IFF Rotterdam, and after having won awards at the
Jeonju IFF, Diagonale and Mar del Plata, it was screened at
more than 40 international festivals.

PRODUCTORA / PRODUCER

ANA GODOY
Estudi direccin cinematogrfica en la Universidad del
Cine. Se form tambin como montajista y guionista. En
2014 produjo, escribi y edit la pelcula Parabellum; y,
junto a la productora Nabis Filmgroup, coprodujo y edit el
largometraje Juana a los 12, de Martn Shanly.
She studied filmmaking at the Universidad del Cine. She
also trained as an editor and screenwriter. In 2014, she
produced, wrote and edited the film Parabellum; and, with
production company Nabis Filmgroup, co-produced and
edited the feature Martn Shanlys About 12.

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Hace un poco ms de un ao encontr un lugar particular que se
estableci como el ncleo de esta pelcula: Palos Verdes, un club
nudista swinger en el noroeste del conurbano bonaerense. Se trata
de un enorme parque con vegetacin salvaje, repleto de templos y
estatuas, inmensas piletas romanas y salas de orga. Los fines de
semana se juntan all ms de 500 personas; nadan, hacen asados,
leen o buscan encuentros sexuales. El lenguaje contemporneo tele-
visivo ha dado un giro hacia programas en los cuales los participan-
tes constantemente traspasan sus lmites morales y fsicos. Es un
fenmeno que siempre llam mi atencin. La pelcula busca generar
una discusin sobre cmo las relaciones humanas y los cuerpos es-
tn representados, mediados por su contexto social, econmico y
cultural en la sociedad contempornea.
Some time ago I found a peculiar place that became the core of
this film. Palos Verdes: a nudist swinger club at the northeast of the
suburbs of Buenos Aires. Its an enormous park with wild vegeta-
tion filled with temples and statues, immense Roman pools and orgy
rooms. More than 500 people gather there every weekend, and they
swim, prepare barbecues, read or look for sexual encounters. The
contemporary television language has shifted towards shows where
the participants constantly go beyond their moral and physical limits.
Its a phenomenon that always caught my attention. The film seeks
to generate discussions on how human relationships and bodies are
represented, mediated by their social, economic and cultural context
in contemporary society

Informacin Tcnica / Technical Information

Ttulo / Title: Los decentes / The Decent
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: 4K Contacto / Contact
Formato de proyeccin / Screening format: DCP 2K Nabis Filmgroup. Buenos Aires, Argentina
Duracin estimada / Estimated length: 95 T 54 9 11 4945 7307
Presupuesto estimado/ Estimated budget: USD 190.000 E lukas@nabisfilm.com
Fondos recaudados / Money in place: USD 150.000 godoyana@gmail.com
W nabisfilm.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 451

BAL WIP
Argentina / Brasil / Chile / Palestina - Argentina / Brazil / Chile / Palestina
LOS TERRITORIOS
The Territories
Ivn Granovsky
El mundo ha cambiado. El terrorismo y la poltica de re-
fugiados ya no son los mismos. Tampoco la economa.
Nada parece tener sentido. Y nada parece til: ni ser un
periodista, ni ser un viajero. A partir del ataque a Char-
lie Hebdo, un joven argentino decide usar sus ahorros
para viajar a Europa y jugar a ser periodista. Al mismo
tiempo, un amigo cercano abandona su trabajo como
corresponsal de guerra y asume como editor de la sec-
cin de Internacionales de una revista. Un mundo nuevo
para el viajero: paisajes siniestros y mgicos, romances
efmeros, partidos de la Champions League, monumen-
tos, hoteles, aviones, barcos y trenes. Un mundo nuevo
para el editor: la casa, la redaccin, la piscina inflable,
el sbado con amigos, la desgrabacin de sus entre-
vistas y navegar con Google Maps Street View. A tra-
vs de entrevistas a Varoufakis, Camila Vallejo, Lula, la
organizacin Breaking the Silence, ex etarras, polticos
palestinos, o a Pocho Lavezzi, los nuevos mundos que
transitan estos personajes los ayudarn a comprender
lo incomprensible: el caos poltico, econmico y social
del ltimo tiempo.
452 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
The world has changed. Terrorism and refugee politics
are no longer the same. Neither is the economy. Nothing
seems to make sense. And nothing seems useful: neither
being a journalist nor a traveler. After the attack on Char-
lie Hebdo, a young Argentine man decides to use his sav-
ings to travel to Europe and play journalist. At the same
time, a close friend leaves his job as a war correspondent
and becomes the editor of the International section of a
magazine. A new world for the traveler: sinister and mag-
ical landscapes, fleeting romances, Champions League
matches, monuments, hotels, planes ships and trains. A
new world for the editor: the house, the editorial office,
the inflatable pool, Saturday with friends, transcribing in-
terviews and surfing the Google Maps Street View.
Through interviews with Varoufakis, Camila Vallejo, Lula,
the Breaking the Silence organization, former ETA mem-
bers, or Pocho Lavezzi, the new worlds these characters
move around in helps them to comprehend the incom-
prehensible: the political, economic and social chaos of
the last few years.
 LOS TERRITORIOS | BAL WIP

DIRECTOR / DIRECTOR

IVN GRANOVSKY
Productor y distribuidor de cine. Produjo Accidentes glorio-
sos, de Mauro Andrizzi & Lindeen, Todos mienten y Rosalin-
da, de Matas Pieiro, entre otras. Luego de haber trabajado
en el cine brasileo volvi a Buenos Aires, donde comenz
a estrenar art house del pas vecino. Los Territorios es su
primer largometraje.
A film producer and distributor. He produced Glorious Acci-
dents, directed by Mauro Andrizzi & Lindeen, They All Lie
and Rosalinda, directed by Matas Pieiro, among others.
After having work in the Brazilian film industry, he returned to
Buenos Aires, where he started releasing art house films from
the neighboring country. Los territorios is his feature debut.

PRODUCTORES / PRODUCERS

EZEQUIEL PIERRI
Fue jefe de produccin de El estudiante (Santiago Mitre). Los He was line producer in The Student (Santiago Mitre). The
territorios es su primera produccin general. Territories is his first film as general producer.

JERNIMO QUEVEDO
Fue productor del corto El ruido de las estrellas me aturde He produced The Sound of the Stars Dazes Me (Teddy
(Teddy Williams) y director de La mujer perseguida. Actual- Williams) and directed La mujer perseguida. He is currently
mente produce la pera prima de Teddy Williams. producing Teddy Williams first feature.

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

La estructura de Los territorios es la de un diario, o al menos la de
leer un diario. Cuando uno lo hace, pasa pginas y ttulos en pocos
segundos, para atrs o para adelante, yendo y viniendo, hasta que
en algn momento se detiene y lee una nota entera, o algunas. Pero
uno no lee el diario entero. En el diario que me gustara leer, puedo
encontrar notas sobre ftbol, msica, poltica nacional o turismo, y
siempre me detengo puntualmente en las de poltica internacional,
como ocurre en el film. Primero, el independentismo en el Pas Vas-
co. Luego, ms en profundidad, el conflicto de Medio Oriente.
The structure of The Territories is that of a newspaper, or at least that
of reading a newspaper. When you do so, you go through pages and
titles in just a few seconds, backwards or forwards, until suddenly
you stop and read a full article, or many. But one doesnt read the
entire newspaper. In the newspaper I would like to read, I can gather
information on soccer, music, local politics or tourism, and I always
read articles on international politics closely, like in the film. First,
independentism in the Basque Country. Then, and more in depth, the
conflict in the Middle East.

Informacin Tcnica / Technical Information

Ttulo / Title: Los territorios / The Territories
Gnero / Genre: Ficcin - Documental / Fiction - Documentary
Formato de rodaje / Shooting format: 2K
Formato de proyeccin / Screening format: DCP 2K
Duracin estimada / Estimated length: 100 Contacto / Contact
Presupuesto estimado / Estimated budget: USD 50.000 IG + Un Puma + EP
Fondos recaudados / Money in place: USD 38.000 T 54 911 6676 1619
E ip.granovsky@gmail.com / quevedo.jero@gmail.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 453

BAL WIP
Argentina
SOLDADO
Soldier
Manuel Abramovich
Soldado es un relato inicitico en el que asistimos a la
transformacin de un joven soldado. Despus de cumplir
19 aos, Juan se rapa la cabeza y deja su pueblo en
Corrientes para viajar a Buenos Aires e incorporarse al
Ejrcito, como tantos otros jvenes de la regin que ven
en ese camino la posibilidad de tener un trabajo, estabili-
dad econmica y ayudar a sus familias. Una psicloga le
pregunta por qu quiere entrar al Ejrcito: porque quiero
experimentar algo nuevo, afirma. A pesar de no tener
ninguna formacin musical, le asignan un puesto de sol-
dado msico tamborista en la orquesta militar Tambor
de Tacuar, una de las ms antiguas e importantes del
pas, con base en el Regimiento de Patricios. A partir
de ese da, su vida cambia: Juan pasa a ser el Soldado
Gonzlez. En el Ejrcito deja de ser un adolescente y
comienza a comportarse como un hombre, un solda-
do. Su nueva rutina combina entrenamiento militar con
ensayos musicales. Al comienzo transita su nueva vida
lleno de incertidumbres y contradicciones. El cansancio
fsico y la rigidez militar le juegan en contra, y no termina
de acostumbrarse al ruido de la ciudad y la cantidad de
gente, hasta que adquiere ms destreza con la msica
y, a travs de ella, encuentra un espacio de disfrute y
libertad dentro de un mundo de reglas estrictas.
454 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
Soldier is an initiation story in which we attend the trans-
formation of a young man into a soldier. After turning
19, Juan shaves his head and leaves his hometown in
Corrientes in order to travel to Buenos Aires and join the
Army, like many other young men from the region who
see in that path the chance of getting a job, having eco-
nomic stability and helping their families. A psychologist
asks him why he wants to join the Army: because I want
to experience something new, he answers. In spite of
having no musical training, he is assigned a position as
a drummer soldier musician in the Tambor de Tacuar
military orchestra, one of the oldest and most important
in the country, based in the Patricios Regiment. From
that day on, his life changes: Juan turns into Soldado
Gonzlez. In the army, he starts being a teenager and
starts behaving like a man, a soldier. His new routine
combines military training and music rehearsals. At the
beginning, he goes through his new life filled with uncer-
tainties and contradictions. His physical exhaustion and
the military stiffness play against him, and cant seem to
get used to the citys noise and overpopulation, until he
gains more skill in music and, through it, finds a space
of freedom and enjoyment inside a world of strict rules.
 SOLDADO | BAL WIP

DIRECTOR / DIRECTOR

MANUEL ABRAMOVICH
Naci en Buenos Aires en 1987 y estudi direccin de He was born in Buenos Aires in 1987 and studied cinema-
fotografa en la ENERC. Dirigi varios cortometrajes. Su tography at the ENERC. He directed many shorts. His short
cortometraje La reina recibi ms de 50 premios en todo film The Queen won more than 50 awards around the world.
el mundo. Solar, su primer largometraje, se estrena en la Solar, his first feature, will have its premiere as part of the
Competencia Argentina en esta edicin del Festival. Argentine Competition at this edition of the Festival.

PRODUCTORAS / PRODUCERS

GEMA JUREZ ALLEN

Naci en Buenos Aires, Argentina. Entre sus produccio-
nes se encuentran Vivan las antpodas! (2011), de Vctor
Kossakovsky; El ojo del tiburn (2012), de Alejo Hoijman;
Camino a La Paz (2015), de Francisco Varone y Oscuro
Animal (2016), de Felipe Guerrero.
She was born in Buenos Aires, Argentina. Her productions
include Victor Kossakovskys Vivan las antpodas! (2011),
Alejo Hoijmans The Sharks Eye (2012), Francisco Varones
Road to La Paz (2015) and Felipe Guerreros Oscuro Animal
(2016).

ALEJANDRA GRINSCHPUN
Form parte de diversas productoras y en 2013 se sum a
Gema Films, desde donde desarrolla y produce proyectos
documentales como 327 cuadernos, de Andrs Di Tella (San
Sebastin). Produjo y dirigi Aos de calle (Bafici 13).
She worked at many production companies and, in 2013,
joined Gema Films, from where she develops and produces
documentary projects like Andrs Di Tellas 327 cuadernos
(San Sebastin). She produced and directed Aos de calle
(Bafici 13).

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Siempre sent curiosidad por el mundo militar, por ese personaje que
el soldado parece construir para la mirada ajena. En qu momento
ese personaje baja la guardia y aparece la persona detrs del unifor-
me? Me gusta la idea de descubrir y reinventar la subjetividad y la
historia de Juan, que, como tantos otros jvenes, vive bajo la cons-
truccin de un rol para los otros, mostrando una aparente fuerza,
autoridad y poder, una identidad uniformada por el grupo al que
decide pertenecer. Vivir esa especie de anonimato como una simple
categora, un rol, una insignia: soldado.
I always felt curious about the military world, for that character the
soldier seems to build for the gaze of others. At what moment does
that character lower his guard and the person behind the uniform
appears?. I like the idea of describing and reinventing the subjectivity
and the story of Juan, who, like many other young men, live under
the building of a role for others, showing some apparent strength,
authority and power, an identity uniformed for the group to which
he decides to belong. Living that kind of anonymity as a simple cat-
egory, a role, an emblem: soldier.

Informacin Tcnica / Technical Information

Ttulo / Title: Soldado / Soldier
Gnero / Genre: Documental / Documentary
Formato de rodaje / Shooting format: 4K
Formato de proyeccin / Screening format: DCP Contacto / Contact
Duracin estimada / Estimated length: 80 Gema Films. Buenos Aires, Argentina
Presupuesto estimado / Estimated budget: USD 123.265 T 54 11 4966 0110
Fondos recaudados / Money in place: USD 85.714 E alejandra@gemafilms.com
W gemafilms.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 455

BAL WIP
Bolivia

VIEJO CALAVERA
Dark Skull
Kiro Russo

Luego de la muerte de su padre, Elder Mamani debe
reemplazarlo en su lugar de trabajo en la mina. Hasta
ese momento viva sin rumbo, dedicado al alcohol y a
su propia locura. Francisco, su padrino, es quien lo ava-
la para trabajar en la mina junto a l. Sin embargo, el
comportamiento de Elder causa asperezas en el grupo
de mineros y graves problemas a su padrino. Despus
de diversas pruebas, Elder Mamani es admitido a viajar
junto a los mineros a la localidad de Coroico para tomar
unas vacaciones. Es en este lugar donde se resuelve de
manera inesperada la profunda escisin que existe entre
Elder y su padrino Francisco.
After the death of his father, Elder Mamani must replace
him in his workplace at the mine. Until then, his life was
aimless, devoted to alcohol and his own madness. The
one endorsing his work at the mine with him is Francisco,
his godfather. However, Elders behavior causes tension
among the group of miners and puts his godfather in deep
trouble. After diverse tests, Elder Mamani is allowed to
travel with other miners to the locality Coroico for a vaca-
tion. There, the deep rift that exists between elder and his
godfather Francisco is solved in an unexpected way.

456 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 VIEJO CALAVERA | BAL WIP

DIRECTOR / DIRECTOR

KIRO RUSSO
Naci en Bolivia en 1984. Estudi en la Universidad del
Cine en Buenos Aires. Como director y guionista realiz
los cortometrajes Enterprisse (2010), Juku (2012) y Nueva
vida (2015, Mencin en el Festival de Locarno 2015, Primer
Premio en el Festival de San Sebastin). Viejo Calavera es
su primer largometraje.
He was born in Bolivia in 1984. He studied at the Univer-
sidad del Cine in Buenos Aires. As a director and screen-
writer, he made the shorts Enterprisse (2010), Juku (2012)
and Nueva Vida (2015, Mention at the 2015 Locarno Film
Festival, First Prize at the San Sebastin Film Festival).
Dark Skull is his first feature.

PRODUCTOR / PRODUCER

PABLO PANIAGUA
Naci en Bolivia en 1985. Es productor, director de fotogra-
fa y editor. Estudi en la Universidad del Cine en Buenos
Aires. Produjo nueve cortometrajes de Socavn Cine. Ha
dirigido y producido dos cortometrajes: Uno (2010) y Despe-
dida (Mencin del Jurado en Bafici 15).
He was born in Bolivia in 1985. He is a producer, director of
photography and editor. He studied at the Universidad del
Cine in Buenos Aires. He produced nine shorts from Socavn
Cine. He has directed and produced two shorts: Uno (2010)
and Despedida (Jury Mention at Bafici 15).

DECLARACIN DEL DIRECTOR / DIRECTORS STATEMENT

Empezamos a pensar en Viejo Calavera en 2011. Habamos filmado
Juku, un cortometraje que se desarrolla en las minas de Huanuni.
Fue una exploracin de las formas narrativas con medios senso-
riales, un cine en la oscuridad, con fuerte diseo sonoro. Ahora, la
necesidad era filmar una historia que retratara y se preocupara por
las personas y amigos que habamos conocido en la comunidad
minera de Huanuni; crear una obra que los representase no solo
temticamente, sino a travs de imgenes esenciales de su vida.
Esperamos que el estreno de la pelcula sea este ao, en el interior
de la mina del cerro Posokoni.
We started thinking about Dark Skull in 2011. He had shot Juku, a
short set in the Huanuni mines. It was an exploration on the narrative
forms with sensorial mediums, a film in the dark, with some strong
sound design. Now, we felt the need to shoot a story that would
portray and be concerned about the people and friends we had met
in the Huanuni mining community; creating a work that would repre-
sent them not only in theme, but also through the essential images
of their life. We hope to release the film this year, inside the mine at
the Posokoni hill.

Informacin Tcnica / Technical Information

Ttulo / Title: Viejo Calavera / Dark Skull
Gnero / Genre: Ficcin / Fiction
Formato de rodaje / Shooting format: 4K UHD Proress
Formato de proyeccin / Screening format: DCP Contacto / Contact
Duracin estimada / Estimated length: 85 Socavn Cine. La Paz, Bolivia
Presupuesto estimado / Estimated budget: USD 150.000 T 59 160 628 428 / 59 1 67 171 720
Fondos recaudados / Money in place: USD 100.000 E socavoncine@gmail.com
W socavoncine.com

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 457

TALENTS BUENOS AIRES

Para m, Mona [el personaje principal de Sin techo ni ley] no significa la

libertad. Significa la rebelin. Para m es la persona que dice que no. No
se sabe muy bien hacia dnde va. Para m la libertad tiene algo de activo.
Mona dice: Quiero que me dejen en paz. No busca nada, ni siquiera la
idea de libertad. Solo quiere hacer lo que le apetezca en el momento y
decir que no a todo lo dems. Agns Varda, El Pas, Espaa. Abril de 1986.

El deseo de (todo) comprenderlo y de (solamente) mostrarlo se disputa en

Sin techo ni ley. Serge Daney, Libration, Francia. 1985.

Luego de diez aos, el Talents Buenos Aires en-
frenta los desafos de comenzar una nueva dca-
da. Desde sus comienzos, su principal aspiracin
fue construir una red laboral y profesional a nivel
regional e internacional, conectando as a profe-
sionales de todo el mundo, y colaborando en el
desarrollo terico y prctico en el universo cine-
matogrfico.
Transcurrieron diez aos, una generacin de par-
ticipantes del Talents BA se ha consagrado, y es-
tos jvenes que han sido parte de esta iniciativa
hoy se encuentran en pleno desarrollo profesio-
nal; muchos de ellos han presentado pelculas en
el Bafici y en diversos festivales del mundo.
Con el objetivo de continuar formando genera-
ciones de cineastas en la regin, el Talents BA
se propone, en su onceava edicin, profundizar
acerca de las preguntas que se plante desde su
inicio: qu es el cine para la generacin joven?
Cmo hacer un cine personal evitando caer en
pelculas estandarizadas y esteticistas que pa-
recieran caracterizar el cine latinoamericano? Y,
sobre todo, una pregunta que conviene revitalizar
y actualizar: qu es el cine independiente? O, en
tal caso, independiente de qu o de quines?
Por esta razn, y continuando con la tradicin
de elegir como tema disparador el ttulo de una
pelcula, esta edicin del Talents BA se llamar
Sin techo ni ley, y as reflexionar acerca del cine
que se produce en los mrgenes no solo en un
sentido esttico, sino tambin en relacin con su
produccin y su distribucin.
En pocas palabras, Sin techo ni ley pretende ha-
cer pensar a los cineastas en el futuro, en un con-
texto en el que lo que conocemos como cine in-
dependiente parece convertirse en el mainstream
de los festivales. Es decir, fomentar reflexiones
acerca de los cambios del cine contemporneo.
El Talents BA se realiza en cooperacin con el
Festival de Berln (Berlinale Talents), el Buenos Ai-
res Festival Internacional de Cine Independiente
(Bafici) y el Buenos Aires Lab (BAL). Con el apoyo
de Mecenazgo BA, la Fundacin Ita y el Goethe-
Institut Buenos Aires.

458 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 For me, Mona [the main character in Vagabond] doesnt stand for freedom.
She stands for rebellion. To me, shes the person who says no. She doesnt
really know where shes going. To me, freedom has an element of action.
Mona says: I just want to be left alone. Shes not seeking anything, not
even an idea of freedom. She just wants to do whatever she wants, and
say no to anything else. Agns Varda, El Pas, Spain. April, 1986.

The desire to understand (all) and (just) showing it is disputed in Vagabond.

Serge Daney, Libration, France, 1985.

After ten years of existence, the Talents Buenos
Aires faces the challenges of starting a new de-
cade. Ever since it was created, its main goal was
to build a regional and international professional
network, thus connecting professionals all over
the world, and collaborating in the theoretical and
practical development in the film universe.
Ten years have passed, a generation of Talents BA
participants have become established filmmakers,
and the young people who have been part of this
initiative today are in full professional develop-
ment. Many of them have presented films in Bafici
and different festivals around the world.
With a mission to keep training generations of film-
makers in the region, the Talents BAs 11th edition
aims to deepen the questions that were proposed
in its origins: what does cinema mean to younger
generations? How do you make a personal cine-
ma avoiding standardized and aesthetically driven
films that seem to be typical of Latin American ci-
nema? And, above all, a question we should revita-
lize and update: what is independent cinema? Or,
rather: independent from what, or whom?
For this reason, and continuing the tradition of
picking a film title as a trigger, this edition of the
Talents BA will be called Vagabond, as a way of
reflecting on the kind of cinema that is produced
in the margins, both in aesthetic and production
and distribution terms.
In a few words, Vagabond aims to get future fil-
mmakers to reflect, in the context where what we
regard as independent cinema seems to be trans-
forming into festival mainstream. That is, promote
reflections on the changes within contemporary
cinema.
The Talents BA is organized in cooperation with
the Berlin Film Festival (Berlinale Talents), the
Buenos Aires International Film Festival (Bafici)
and the Buenos Aires Lab (BAL). With the su-
pport of Mecenazgo BA, the Ita Foundation,
and Goethe-Institut Buenos Aires.

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 459

460 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE
NDICES
INDEX
INDEX BY FILM

# Blue Black Permanent 394 El futuro perfecto 444 Hey Vancouver,

7 Chinese Brothers 382 Boi Neon 73 445 This Is You on Craigslist 412
11 Minutes 174 Bone Tomahawk 79 El gigante de hierro 150 Hierba 55
317-322 120 Boris sans Batrice 176 El hombro de Sbaraglia 135 Hijos nuestros 293
1922 438 Bunker 300 El invierno llega Historia del agua 122
439 By Way of Display 244 despus del otoo 52 Historias breves 12 140
1986. La historia El mercader de la muerte 422 141
detrs de la Copa 288 C El mes del amigo 121 Hitchcock/Truffaut 210
Camarn 130 El nome de los rboles 177 Hola a los fiordos! 123
A Campo a travs. Mugaritz, El Perro de Ituzaing 205 Homeland (Iraq Year Zero) 113
A Brief History of British intuyendo un camino 251 El rey de La Habana 178 Homo Sapiens 70
Columbia 413 Carmona tiene una fuente 224 El sentido derby 290 Horizontes 304
A Dragon Arrives! 83 Carne propia 252 El teorema de Santiago 53 Hugh McDiarmaid, a Portrait 391
A glria de fazer cinema Carregador 1118 98 El Tila: Fragmentos
em Portugal 203 Carta 12, Praga. 131 de un psicpata 99 I
A la recherche de lultra-Sex 310 Chasmic Dance 418 El ltimo verano 206 I Saw the Light 276
A Magical Substance Chiasmus 418 El vecino 179 Il solengo 226
Flows into Me 42 Cine publicitario argentino 349 El viento sabe que Illegitimate 45
A Maid for Each 115 Cinzas e brasas 86 vuelvo a casa 207 Imagine Waking Up Tomorrow
A Man Returned 118 Clara 131 Elon no acredita na morte 446 and All Music
A morte de J.P. Cuenca 72 Collective Invention 312 447 Has Disappeared 277
A Place of Work 392 Colour Poems 393 En modo silencio 329 Implantacin 330
A Portrait of Ga 391 Combat damour en songe 370 En otra casa 111 In Defense of Food 253
A Touch of Zen 344 Communication & Lies 36 Engram of Returning 417 In the Last Days of the City 37
A Tropical House 247 Con los puos Entertainment 376 Informe general II.
Adn Buenosayres. en los bolsillos 343 Entre dos luces - Surez. El nuevo rapto de Europa 183
La pelcula 302 Continue 132 Primera parte 274 Inmortal 100
Adis a las ciudades Cosmos 365 Entrecampos 268 Innocence 409
Ep 1: Carta para mis amigas 120 Cosqun Rock XV. Error 404 122 Inscripciones 199
Aerial 393 El documental 272 Esa sensacin 78
Al desierto 440 Creative Control 40 Esposa ltimo modelo 401 J
441 Cremaster 1 396 Ever the Land 117 Je me tue le dire 33
Alice in Earnestland 77 Cremaster 2 396 volution 410 JeruZalem 314
All That Rises 417 Cremaster 3 397 Jess & James 227
Alone 311 Cremaster 4 397 F John From 44
American Epic Trilogy 270 Cremaster 5 397 Favio: Crnica de un director 208 Journal dune femme
Amigos, Inside the Human Crespo (La continuidad Fear Itself 221 de chambre 184
Body 170 de la memoria) 50 Film 340 Juan Meisen ha muerto 56
An Afternoon with Crimen de Las Salinas 51 Fin de semana 448 Juanicas 110
Alexandra Morton 413 449 Julieta se queda dormida 123
Anglica [una tragedia] 303 D Finding Sofia 54 Junun 279
AninA 165 De cmo Daniel... 132 Flores silvestres 103
Antnio um dois trs 442 Demon 84 Francofonia 180 K
443 Deportivo Espaol 133 Free to Run 291 Kaluokahina,
Ants on a Shrimp 250 Diario de un corto 328 From Earth to the Universe 168 the Enchanted Reef 171
Apenas un delincuente 341 Das de Cleo 262 FtWTF Female Kampai! For the
Aqui, em Lisboa: Das de lluvia 328 to What The Fuck 108 Love of Sake 254
Episdios da vida da cidade 326 Dinosaurs at Dusk: Funny Bunny 292 Karaoke Crazies 315
Archivos intervenidos: The Origins of Flight 168 King Lear 421
Cine Escuela 348 Disco Limbo 68 G Kosice hidroespacial 305
As bodas de Deus 369 Dnde ests, Negro? 289 Galindez 135
Asian Gangs 412 Dragon Inn 345 Garden Pieces 393 L
Audaz se eleva 204 Garoto 181 La academia de las musas 186
Aviso fnebre 130 E Girl Asleep 31 La Bouche de Jean-Pierre 408
East Punk Memories 273 God Bless the Child 263 La calle de la amargura 187
B Eco 338 Grandma 182 La chica de rosa 346
Back Track 203 El aura 387 Green Fuse 418 La cinaga 403
Bang Gang (Une histoire El caso Thomas Crown 405 Green Room 313 La ciudad de las rplicas 331
damour moderne) 260 El coral que trajimos La cupola 241
Barbicania 236 de Brasil 133 H La distancia entre
Becoming Zlatan 261 El dependiente 403 Harmony and Me 380 los mdanos 136
Bella e perduta 327 El eslabn podrido 144 Harold and Lilian. La espera 385
Belle de nuit - Grislidis El estado de las cosas 368 A Hollywood Love Story 209 (La fbrica de tortas)
Ral autoportraits 109 El familiar 134 Hasta despus de muerta 342 Pastel de cereza 124
Berln 121 El final 134 Heavysaurios 151 La helada negra 145
Between Fences 175 El francesito. Un documental Hedi 47 La La La at Rock Bottom 280
Beyond Clueless 220 (im)posible sobre Enrique Helsinki 136 La larga noche
Blind Alley Augury 418 Pichn-Riviere 225 Hermosos Perdedores Pop 275 de Francisco Sanctis 28

462 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 NDICE POR PELCULA

La mquina que Mralos morir 355 R The Damned: Dont You

hace estrellas 165 Miss 295 Rados 63 Wish That We Were Dead 285
La memoria de los huesos 107 Molly Monster 152 Raoul Ruiz, contre The Diary of a Teenage Girl 267
La noche 29 Montanha 266 lignorance fiction! 202 The Fat Diet 413
La Organizacin Negra Much Ado About Nothing 423 Requisitos para ser The Inerasable 320
(ejercicio documental) 306 Mune: Le Gardien de la lune 153 una persona normal 297 The Island Funeral 90
La piel marcada 228 Murales. El principio Right Now, Wrong Then 193 The Jazz Loft According
La reina del baile 124 de las cosas 231 Rodencia y el diente to W. Eugene Smith 278
La ltima Navidad de Julius 97 My Scientology Movie 296 de la princesa 165 The King of the Streets 321
La ltima pelcula 356 Romntico italiano 96 The Land of Many Palaces 240
La ltima tierra 332 N Rosa Chumbe 43 The Laundryman 92
La valija de Benavdez 146 Never a Foot Too Far, RSO (Registered The Leaden Echo
LADN du ceviche 255 Even 417 Sex Offender) 379 and the Golden Echo 391
Land Makar 393 New Jerusalem 374 The Lure 85
Las calles 95 Next 424 S The Missing Girl 322
Las imgenes de Helena 125 No hay bestias 126 Sagardoa bidegile - The People Garden 35
Las letras 116 No Men Beyond This Point 75 Historias de sidra 256 The Revolution
Las lindas 57 No va llegar 282 Sangue del mio sangue 194 Wont Be Televised 46
Las plantas 94 Notfilm 340 Saru. Documental The Sandwich Nazi 414
Las Vegas in 16 Parts 333 Nueve reinas 386 sobre Jorge Sarudiansky 214 The Tempest 423
LAstragale 366 Nuevo Rock: Adicta, Schneider vs. Bax 195 The Virgin Psychics 323
LAvenir 185 el documental 283 Searching for Meritxell 317 They 245
Le Bois dont les Nuts! 234 Shalom Bombn 335 Three Portrait Sketches 391
rves sont faits 188 Shaun: El cordero 161 Toda una noche 421
Le Corbusier [|||||] O Shirley Sings 413 Todo comenz por el fin 219
Asger Jorn [Relief] 241 O espectador espantado 212 Siembra 336 Tom Petty and
Le Fils de Joseph 13 O espelho 34 Silence 242 the Heartbreakers:
Le Moulin 91 Office 192 Silencio antes 127 Runnin Down a Dream 359
Le Nouveau 41 Sin dejar rastros 215 Tower House 246
Oleg y las raras artes 38
Les Dmons 74 Sipo Phantasma 216 Traces of Garden 89
Ombre della sera 114
LHumour mort 112 Snacks, bocados de Trees of Syntax,
On the Mountain 391
Like Cattle Towards Glow 316 una revolucin 257 Leaves of Axis 417
One Day Since Yesterday:
Linefork 229 Snow Warrior 321 Trevor the Dinosaur 413
Peter Bogdanovich
Little Men 189 Snowtime! 155
& the Lost American Film 361
Looking for Exits - Solar 64 U
One World, One Sky:
Conversations with Soldado 454 UIO: Scame a pasear 102
Big Birds Adventure 169
a Wingsuit Artist 230 455 Ukrainian Sheriffs 337
Los decentes 450 Operacin Regalo 160
Solitary Acts 80 ltimas conversas 197
451 Os canibais 368
Solos 217 Un dia perfecte per volar 198
Los das felices 125 Ossos 369
Somebody Up There Un ejercicio para no olvidar 128
Los paraguas de Cherburgo 405 Our Nixon 233
Likes Me 381 Un Franais 232
Los pibes 294 Oyster Factory 334 Something Between Us 81 Una idea de la vida cotidiana 138
Los territorios 452 Song of the Sea 156 Una novia de Shanghai 69
453 P Space Rock Symphony 169 Uncle Howard 308
Lucha. Jugando Panke 59 SPL: Kill Zone 318 Undisclosed Recipients 300
con lo imposible 147 Paradise! Paradise! 32 SPL 2 - A Time for
Luna de papel 358 Pars, Texas 399 Consequences 319 V
Parrot Island 412 Stand By for Tape Back-Up 88 Vapor 298
M Pasaporte a Ro 401 Strike a Pose 284 Verengo 39
Macbeth 422 Perfume para cuatro 127 Studio 244 Vida sexual de las plantas 299
Malgr la nuit 82 Phantom Boy 154 Sunset Song 196 Viejo calavera 456
Mallory 190 Piratas! Una loca aventura 161 457
Manifiesto de amor 126 Plan 245 T Vintage Print 71
Maana nos mudamos 370 Pollitos en fuga 160 Taekwondo 65 Vivir en tu recuerdo 30
Mapplethorpe: Porno e libert 213 Tailpiece 392 Voyage autour de la lune 237
Look at the Pictures 307 Posto avanado TELOS: The Fantastic
Maria do Mar 87 do progresso 367 World of Eugene Tssui 238 W
Massamba 137 Primavera 60 Terapia en Broadway 360 Waiting Far Away 170
Mate-me por favor 264 Primero, enero 61 Territorio 101 When Geek Meets
Maturit 265 Programa - 40 aos Tess 399 Serial Killer 324
Mi hist(e)ria en el cine 211 de Aardman 162 The 1000 Eyes of When Marnie Was There 157
Mi ltimo fracaso 58 163 Dr. Maddin 218 Where I Am Is Here 392
Michael Jacksons Journey Programa The American Epic Sessions 271 WIK 104
from Motown to Off the Wall 281 Wallace & Gromit 164 The Bodyguard 76 Writing on the City 106
Microbe et Gasoil 191 The Brick and the Mirror 347
Miles Ahead 15 Q The Builder 373 Y
Minsculos 165 Qu pasa, doctor? 357 The Chinese Mayor 239 Yoko y sus amigos 158
Mira cmo te olvido 137 Quizs hoy 62 The Comedy 375 Yolanda 128

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 463

INDEX BY DIRECTOR

A Bressane, Jlio 181 Duque, Andrs 38 Heboyan, Alexandre 153

Abi Samra, Maher 115 Brisson, Franois 155 Hegnsvad, Kristoffer 230
Abraham, Marc 276 Brook, Peter 421 E Heller, Marielle 267
Abramovich, Manuel 64 Brookner, Aaron 308 Echeverra, Esteban 165 Hernando, Pablo 78
454 Brownlow, Mark 170 Ekblad, Michael 152 Hickox, Douglas 422
455 Bruhn, Matthias 152 El Said, Tamer 37 Hirsch, Narcisa 199
Abrantes, Gabriel 326 Bruno, Diego 135 Elordi, Juanjo 158 Hofer, Eileen 304
Acosta, Fermn 330 Buisel, Estanislao 53 Emigholz, Heinz 241 Holzman, Martn 124
Aguilar, Sandro 300 Burghi, Agustn 128 Escuer, Vernica 257 Hong, Sang-soo 193
Ahn, Gooc-jin 77 Burnin Percebes 317 Esposito , Valentina 114 Hu, King 344
Akerman, Chantal 370 Burton, Mark 161 Etminani, Homer 100 345
Almandoz, Koldo 216 Byington, Bob 377 Huang, Ya-li 91
Alverson, Rick 371 382 F Huberman, Laura 131
76 Fahdel, Abbas 113 Husson, Eva 260
Alves Jr., Ricardo 446 C Farina, Martn 65
447 Calvo, A. D. 322 Farini, Ana 137 I
Amaya, Milena 137 Carroggio, Patricio 205 Farley, Zac 316 Ibaez, Aylee 137
Amoroso, Carmine 213 Casabe, Laura 146 Favio, Leonardo 403 Isler, Ale 214
Anderson, Paul Thomas 279 Casavecchia, Nico 54 Felicioli, Jean-Loup 154
Andrizzi, Mauro 69 Castro, Edgardo 29 Fernndez, Hernn 228 J
Aparicio, Mara 95 Cavestany, Juan 78 Fernndez Gebauer, Juan 293 Jacquot, Benoit 184
Apellaniz, Leire 206 Charlet, Nicolas 310 Fernndez-Valds, Manuel 303 Jarman, Derek 423
Arvalo, Agustn 275 Chaufour, Lucile 273 Fi, Diego 140 Jewison, Norman 405
Arriagada, Orlando 255 Chavarra, Pablo 116 Fishko, Sara 278 Jolonch, Cristina 257
Ayub, Kurdwin 32 Cheadle, Don 15 Fleifel, Mahdi 118 Jones, Kent 210
Cheang, Soi 319 Francolino, Carla 136
B Cheung, Eric 324 Franzetti, Alejo 59 K
Bagnall, Alison 292 Cols, Jorge Leandro 294 Fregonese, Hugo 341 Kang, Cecilia 58
Bailey, Fenton 307 Colman, Moroco 448 Fruhauf, Siegfried A. 71 Karimi, Keywan 106
Balduzzi, Vernica 138 449 Karjalainen, Pekka 151
Bande, Ramn Llus 177 Consonni, Eduardo 98 G Kartaszewicz, Diego 215
Bao, Xacio 338 Cook, Barry 160 Gagnol, Alain 154 Kim, Sang-chan 315
Barbato, Randy 308 Cooper, Dennis 316 Gammarota, Melisa Pa 130 Klopf, Karl-Heinz 243
Barney, Matthew 39 Corach, Sergio 62 Garca Casanova, Karina 110 247
397 Costa, Pedro 369 Gatell, Pep 251 Kohan, Miguel Luis 225
Barrios, Alejandro 283 Costantini, Cristin 282 Gaviria, Mercedes 127 Konishi, Mirai 254
Bejarano, Edmundo 97 Ct, Denis 176 Gnisson, Julin 78 Korgi, Daniel 132
Bka, Ila 236 326 Gertten, Fredrik 261 Kurz, Sigrid 244
237 Coutinho, Eduardo 197 Gertten, Magnus 261 Kwon, Oh-kwang 312
Bellocchio, Marco 194 Crespo, Eduardo 50 Geyrhalter, Nikolaus 70
343 Cuenca, J. P. 72 Ghio, Chiara 140 L
Ben Attia, Mohamed 47 Cuesta, Alexandra 101 Giralt, Santiago 60, Lamar, Pablo 332
Bennett, Lewis 411 Czemerinski, Vera 131 227 Lampert, Katharina 108
414 Giraud, Hlne 165 Landaveri, Fredo 68
Beraudi, Facundo 107 D Goldgrob, Mariano 298 Lane, Penny 233
Bercetche, Segundo 282 Davies, Terence 196 Golestan, Ebrahim 347 234
Bergao, Felipe 56 De Grave, Marie-Eve 109 Gondry, Michel 191 Lavaine, Bruno 311
Berger, Marco 65 De la Fuente, Flavia 328 Gould, Ester 284 Lebrero, Tomi 282
Bergman, Ariela 120 De Luca, Dante 123 Grandrieux, Philippe 82 Leconte, Daniel 112
Bielinsky, Fabin 383 De Oliveira, Manoel 368 Granovsky, Ivn 452 Leconte, Emmanuel 112
387 Dearden, Basil 421 453 Ledesma, Carlos 135
Bird, Brad 150 Dekkers, Maurice 250 Green, Eugne 13 Lee, Chung 92
Bisbano, David 165 Demy, Jacques 405 Grohnert, Sarah 117 Lee, Kyung 238
Blanco, Fernando M. 274 Deutch, Howard 346 Guala, Agostina 125 Lee, Seung-won 36
Blousson, Martn 290 Diastme 232 Guerin, Jos Luis 186 Lee, Spike 281
Bogdanovich, Peter 353 Dickinson, Benjamin 40 Gunche, Enrique Ernesto 342 Lehmann, Wolfgang 89
361 Diego, Ken 169 Gurfinkel, Natasha 130 Lei, Zhong 321
Bolloqui, Sol 330 Diment, Valentn Javier 144 Leiva, Lisandro 204
Bondarchuk, Roman 337 Dincel, Nazli 80 H Lemoine, Louise 236
Bonomo, Robert 295 Distfano, Lucas 51 Hadzihalilovic, Lucile 407 237
Bosisio, Gabriel 128 Dolera, Leticia 297 410 Lesage, Philippe 79
Brahm, Sebastin 299 Doveris, Roberto 94 Haghighi, Mani 83 Lescano Noriel, Franco 134
Branagh, Kenneth 423 Dower, John 296 Hansen-Lve, Mia 185 Liebenthal, Melisa 57

464 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 NDICE POR DIRECTOR

Lievendag, Marlene 126 P Santamara, Andrea 125 Van Warmerdam, Alex 195
Lima, Rodrigo 34 Paquet, Sebastin 242 Sarmiento, Mauricio 137 Vlez, Simn 122
Lipman, Ross 340 Park, Hong-min 311 Sattel, Volker 241 Venturini, Alejandro 208
Litz, Nadia 35 Park, Nick 160 Saulnier, Jeremy 313 Verguilla, Ignacio 133
Lombardi, Joanna 217 Paz, Doron 314 Sawallisch, Robert 169 Vieira da Silva, Hugo 367
Lord, Peter 160 Paz, Yoav 314 Sawers, Mark 75 Villanueva, Ins 127
161 Pra, Edgar 212 Schlieper, Carlos 401 Villaronga, Agust 178
Losier, Marie 326 Percia, Florencia 121 Schmidt, Juan 134 Villegas, Juan 302
Lozano lvarez, Santiago 336 Prez Lombardini, Pablo 103 Schneider, Alan 340
Lyne, Charlie 220 Prez Opacak, Sebastin 120 Schonfeld, Maximiliano 145 W
221 Perrone, Ral 55 Schwarz, Michael 253 Wainstein, Mariana 122
Philippon, Benoit 153 Schwietert, Stefan 277 Weitz, Paul 182
M Piazza, Luciano 333 Seoane, Vctor Hugo 39 Wenders, Wim 368
Machoian, Robert 263 Piperno, Alex 123 Seron, Xavier 33 399
Mack, Jodie 81 Polanski, Roman 399 Serra, Martn 133 Widrich, Virgil 203
MacLeod, Calum 412 422 Sieger, Ted 152 Wohlatz, Nele 444
MacMahon, Bernard 270 Popp, Peter 171 Silva, Jeff 229 445
271 Portabella, Pere 183 Simon, Claire 188 Wolf, Sergio 30
Maly, Alejandro 289 Postiglione, Vctor 140 Sion, Sono 323 Wrona, Marcin 84
Manna, Jumana 42 Pouliot, Jean-Franois 155 Sip, Robin 168
Marcello, Pietro 327 Praznik, Jessica 124 Sitaru, Adrian 45 Y
Marcone, Diego 63 Purves, Barry 424 Skolimowski, Jerzy 174 Yamashita, Nobuhiro 280
Marcos, Teresa 329 Smith, Adam 240 Yip, Wilson 318
Marques, Rodrigo 98 Q Smith, Sarah 160 Yonebayashi, Hiromasa 157
Mrquez, Francisco 28 Quiroga, Ana 147 Smoczynska, Agnieszka 85 Yurcovich, Adriana 141
Martel, Lucrecia 403 Soda, Kazuhiro 334
Martnez de la Pera, Eduardo 342 R Soderguit, Alfredo 165 Z
Mascambroni, Daro 61 Raim, Daniel 209 Sodero, Csar 141 Zahler, S. Craig 79
Mascaro, Gabriel 73 Rawlings, Vic 229 Sokurov, Aleksandr 180 Zavadisca, Belina 331
Masllorens , Ignacio 53 Recha, Marc 198 Solarz, Malena 52 Zhou, Hao 239
Matiozzi Molinas, Francisco 231 Recio, Josefina 141 Song, Ting 240 Zoppis, Matteo 226
Matsopoulos, Theofanis 168 Relayze Chiang, Jonatan 43 Song, Yue 76 Zubia Gallastegi, Bego 256
Mauregui, Martn 438 Rmoli, Christian 288 321 Zukerfeld, Nicols 52
439 Reymond, Mara Elvira 262 Sotomayor, Dominga 326 Zulawski, Andrzej 365
Menis, Mara Victoria 211 Rigo de Righi, Alessio 226 Starzak, Richard 161 Zwaan, Reijer 284
Mograbi, Avi 175 Ripstein, Arturo 187 Surez, Nicols 293
Mok, Remus 324 Rocco, Julieta 306 Sutherland, Ross 88
Mondelo, Sheuen 132 Rocha da Silveira, Anita 264 Sy, Brigitte 366
Montao, Dolores 141 Rodrguez Redondo, Martn 141 Szabo, Thomas 165
Monteiro, Joo Csar 369 Rojo, Alejandra 202
Montmayeur, Yves 218 Romero, Alberto 252 T
Moore, Tomm 156 Rosas, Joo 87, Tait, Margaret 389
Morath, Pierre 291 268 394
Moreno del Valle, Rodrigo 104 Rosell, Ulises 440 Teck, Bill 361
Mostaza, Rubn Francisco 272 441 Testa, Andrea 28
Mouramateus, Leonardo 442 Rosenberg, Rudi 41 Thiaw, Rama 46
443 Rousselot, Vanessa 111 Thym, Cordula 108
Movia, Mauro 136 Rueda, Micaela 102 Tinayre, Daniel 401
Mozos, Manuel 86 Ruiz, Ral 370 To, Johnnie 192
203 Ruiz, Rosendo 265 Toledo, Mariano 68
Muntean, Radu 179 Russo, Kiro 456 Torres Contreras, Alejandro 99
Myers, Rosemary 31 457 Torres Leiva, Jos Luis 207
Torres Negri, Mariano 204
N S Towira, Pimpaka 90
Nakamura, Yoshihiro 320 Sachs, Ira 189 Trestkov, Helena 190
Newitt, Jeff 161 Saie, Gabriel 305 Trulln, Antonio 224
Nicolau, Joo 44 Sato, Dachi 415
418 U
O Salas, Luca 330 Ungar, Sofa 335
Ojeda-Beck, Rodrigo 264 Salaviza, Joo 266
Orshoski, Wes 285 Salerno, Luciano 121 V
Osorio Rojas, ngela 336 Salgado, Adriano 96 Valenta Rinner, Lukas 450
Ospina, Luis 219 San Martn IV, Agustina 126 451

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 465

INDEX BY COUNTRY

Alemania / Germany despus del otoo 52 Miss 294 Antnio um dois trs 442
El estado de las cosas 368 El mes del amigo 121 Murales. El principio 443
Imagine Waking Up El Perro de Ituzaing 205 de las cosas 231 Boi Neon 73
Tomorrow and All Music El sentido derby 289 No hay bestias 126 Carregador 1118 98
Has Disappeared 276 El teorema de Santiago 53 No va llegar 281 Elon no acredita na morte 446
Kaluokahina, Entre dos luces - Surez. Nueve reinas 385 447
the Enchanted Reef 171 Primera parte 273 Nuevo Rock: Adicta, Garoto 181
La cupola 241 Error 404 122 el documental 282 Mate-me por favor 263
Le Corbusier [|||||] Esposa ltimo modelo 401 Panke 59 O espelho 34
Asger Jorn [Relief] 241 Favio: Crnica de un director 208 Pasaporte a Ro 400 ltimas conversas 197
Like Cattle Towards Glow 315 Fin de semana 448 Perfume para cuatro 127
Molly Monster 152 449 Primavera 60 Canad / Canada
Space Rock Symphony 169 Finding Sofia 54 Primero, enero 61 A Brief History of British
Galindez 135 Quizs hoy 62 Columbia 413
Argentina Hasta despus de muerta 341 Rados 63 All That Rises 417
317-322 120 Helsinki 136 Romntico italiano 96 An Afternoon with
1922 Hermosos Perdedores Pop 274 Saru. Documental sobre Alexandra Morton 413
438-439 Hierba 55 Jorge Sarudiansky 214 Asian Gangs 412
1986. La historia Hijos nuestros 292 Shalom Bombn 334 Blind Alley Augury 418
detrs de la Copa 287 Historia del agua 122 Silence 242 Boris sans Batrice 176
Adn Buenosayres. Historias breves 12 Silencio antes 127 Chasmic Dance 417
La pelcula 301 140-141 Sin dejar rastros 215 Chiasmus 418
Adis a las ciudades Hola a los fiordos! 123 Solar 64 Engram of Returning 416
Ep 1: Carta para mis amigas 120 Implantacin 330 Soldado Green Fuse 418
Al desierto Inscripciones 199 454-455 Hey Vancouver,
440-441 Jess & James 227 Taekwondo 65 This Is You on Craigslist 412
Apenas un delincuente 340 Juan Meisen ha muerto 56 Un ejercicio para no olvidar 128 Juanicas 110
Archivos intervenidos: Julieta se queda dormida 123 Una idea de la vida cotidiana 138 LADN du ceviche 255
Cine Escuela 347 Kosice hidroespacial 304 Una novia de Shanghai 69 Les Dmons 74
Audaz se eleva 204 La cinaga 402 Vapor 297 Never a Foot Too Far, Even 417
Aviso fnebre 130 La ciudad de las rplicas 331 Vivir en tu recuerdo 30 No Men Beyond This Point 75
Berln 121 La distancia entre Yolanda 128 Parrot Island 412
Camarn 130 los mdanos 136 Shirley Sings 413
Carne propia 252 La espera 384 Australia Snowtime! 155
Carta 12, Praga. 131 (La fbrica de tortas) Girl Asleep 31 The Fat Diet 413
Cine publicitario argentino 348 Pastel de cereza 124 The People Garden 35
Clara 131 La helada negra 145 Austria The Sandwich Nazi 413
Continue 132 La larga noche de A Tropical House 247 Trees of Syntax,
Cosqun Rock XV. Francisco Sanctis 28 Back Track 203 Leaves of Axis 417
El documental 271 La mquina que By Way of Display 244 Trevor the Dinosaur 412
Crespo (La continuidad hace estrellas 165 FtWTF Female to
de la memoria) 50 La memoria de los huesos 107 What The Fuck 108 Chile
Crimen de Las Salinas 51 La noche 29 Homo Sapiens 70 Das de Cleo 261
De cmo Daniel... 132 La Organizacin Los decentes El Tila: Fragmentos de un
Deportivo Espaol 133 Negra (ejercicio documental) 305 450-451 psicpata 99
Diario de un corto 327 La piel marcada 228 Paradise! Paradise! 32 El viento sabe que vuelvo
Das de lluvia 328 La reina del baile 124 Plan 245 a casa 207
Disco Limbo 68 La valija de Benavdez 146 Studio 244 Las plantas 94
Dnde ests, Negro? 288 Las calles 95 They 245 Vida sexual de las plantas 298
El aura 386 Las imgenes de Helena 125 Tower House 246
El coral que trajimos Las lindas 57 Vintage Print 71 China
de Brasil 133 Los das felices 125 Snow Warrior 321
El dependiente 403 Los pibes 293 Blgica / Belgium SPL 2 - A Time for
El eslabn podrido 144 Los territorios 452 Belle de nuit - Grislidis Ral Consequences 318
El familiar 134 453 autoportraits 109 The Bodyguard 76
El final 134 Lucha. Jugando Je me tue le dire 33 The Chinese Mayor 239
El francesito. Un documental con lo imposible 147 The King of the Streets 320
(im)posible sobre Manifiesto de amor 126 Bolivia The Land of Many Palaces 240
Enrique Pichn-Riviere 225 Massamba 137 La ltima Navidad de Julius 97
El futuro perfecto Maturit 264 Viejo calavera 456 Colombia
444-445 Mi hist(e)ria en el cine 211 457 Inmortal 100
El hombro de Sbaraglia 135 Mi ltimo fracaso 58 Brasil / Brazil Siembra 335
El invierno llega Mira cmo te olvido 137 A morte de J.P. Cuenca 72 Todo comenz por el fin 219

466 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE

 NDICE POR PAS

Grandma 182 Barbicania 236 Porno e libert 213

Corea del Sur / South Korea Green Room 312 Between Fences 175 Sangue del mio sangue 194
Alice in Earnestland 77 Harmony and Me 379 Combat damour en songe 370
Alone 310 Harold and Lilian. Cosmos 364 Japn / Japan
Collective Invention 311 A Hollywood Love Story 209 East Punk Memories 272 Kampai! For the
Communication & Lies 36 Hitchcock/Truffaut 210 volution 409 Love of Sake 254
Karaoke Crazies 314 I Saw the Light 275 Francofonia 180 La La La at Rock Bottom 279
Right Now, Wrong Then 193 In Defense of Food 253 Innocence 408 Oyster Factory 333
Junun 278 Journal dune femme The Inerasable 319
Dinamarca / Denmark La chica de rosa 345 de chambre 184 The Virgin Psychics 322
Looking for Exits - Conversations La ltima pelcula 355 La Bouche de Jean-Pierre 408 When Marnie Was There 157
with a Wingsuit Artist 230 Las Vegas in 16 Parts 332 LAstragale 366
Linefork 229 LAvenir 185 Lbano / Lebanon
Ecuador Little Men 189 Le Bois dont les rves A Maid for Each 115
Territorio 101 Luna de papel 357 sont faits 188
UIO: Scame a pasear 102 Michael Jacksons Journey Le Fils de Joseph 13 Mxico / Mexico
from Motown to Off the Wall 280 Le Nouveau 41 Flores silvestres 103
Egipto / Egypt Miles Ahead 15 LHumour mort 112 La calle de la amargura 187
In the Last Days of the City 37 Mralos morir 354 Los paraguas de Cherburgo 404 Las letras 116
New Jerusalem 373 Malgr la nuit 82
Espaa / Spain Notfilm 340 Maana nos mudamos 370 Nueva Zelanda
Amigos, Inside the Nuts! 234 Microbe et Gasoil 191 New Zealand
Human Body 170 One Day Since Yesterday: Minsculos 165 Ever the Land 117
Anglica [una tragedia] 302 Peter Bogdanovich Mune: Le Gardien de la lune 153
Campo a travs. Mugaritz, & the Lost American Film 360 Pars, Texas 399 Paraguay
intuyendo un camino 251 One World, One Sky: Phantom Boy 154 La ltima tierra 331
Carmona tiene una fuente 224 Big Birds Adventure 169 Raoul Ruiz, contre
Eco 337 Our Nixon 233 lignorance fiction! 202 Per / Peru
El nome de los rboles 177 Qu pasa, doctor? 356 Tess 398 Rodencia y el diente
El rey de La Habana 178 RSO (Registered Un Franais 232 de la princesa 165
El ltimo verano 206 Sex Offender) 378 Voyage autour de la lune 237 Rosa Chumbe 43
En modo silencio 328 Solitary Acts 80 Solos 217
En otra casa 111 Somebody Up Holanda / Netherlands WIK 104
Esa sensacin 78 There Likes Me 380 Ants on a Shrimp 250
Informe general II. Something Between Us 81 Dinosaurs at Dusk: Polonia / Poland
El nuevo rapto de Europa 183 TELOS: The Fantastic The Origins of Flight 168 11 Minutes 174
La academia de las musas 186 World of Eugene Tssui 238 Schneider vs. Bax 195 Demon 84
Oleg y las raras artes 38 Terapia en Broadway 359 Strike a Pose 283 The Lure 85
Requisitos para ser The 1000 Eyes
una persona normal 296 of Dr. Maddin 218 Hong Kong Portugal
Sagardoa bidegile The American Epic Sessions 271 Office 192 A glria de fazer cinema
Historias de sidra 256 The Builder 372 SPL: Kill Zone 317 em Portugal 203
Searching for Meritxell 316 The Comedy 374 Aqui, em Lisboa:
Sipo Phantasma 216 The Damned: Dont You Irak / Iraq Episdios da vida da cidade 325
Snacks, bocados Wish That We Were Dead 284 Homeland (Iraq Year Zero) 113 Bunker 299
de una revolucin 257 The Diary of a Teenage Girl 266 Cinzas e brasas 86
Un dia perfecte per volar 198 The Jazz Loft According to W. Irn / Iran Entrecampos 267
Verengo 39 Eugene Smith 277 A Dragon Arrives! 83 John From 44
Yoko y sus amigos 158 The Missing Girl 321 The Brick and the Mirror 346 Maria do Mar 87
Tom Petty and the Writing on the City 106 Montanha 265
Estados Unidos / US Heartbreakers: Runnin O espectador espantado 212
7 Chinese Brothers 381 Down a Dream 358 Irlanda / Ireland Os canibais 368
American Epic Trilogy 270 Uncle Howard 307 Song of the Sea 156 Ossos 369
Bone Tomahawk 79 Waiting Far Away 170 Posto avanado
Creative Control 40 Israel do progresso 367
Cremaster 1-5 Finlandia / Finland JeruZalem 313 Undisclosed Recipients 300
396-397 Heavysaurios 151
El caso Thomas Crown 405 Italia / Italy Reino Unido / UK
El gigante de hierro 150 Francia / France Bella e perduta 326 A Man Returned 118
Entertainment 375 A la recherche de lultra-Sex 309 Con los puos A Place of Work 392
Film 339 As bodas de Deus 369 en los bolsillos 343 A Portrait of Ga 391
Funny Bunny 291 Bang Gang (Une histoire Il solengo 226 Aerial 393
God Bless the Child 262 damour moderne) 259 Ombre della sera 114 Beyond Clueless 220

[18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 467

INDEX BY COUNTRY

Blue Black Permanent 393 Programa - Wallace & Gromit 164 Senegal The Laundryman 82
Colour Poems 392 Shaun: El cordero 161 The Revolution Wont When Geek Meets
El mercader de la muerte 422 Stand By for Tape Back-Up 88 Be Televised 46
Serial Killer 323
Fear Itself 221 Sunset Song 196
Garden Pieces 393 Suecia / Sweden
Tailpiece 392
Hugh McDiarmaid, a Portrait 391 Becoming Zlatan 260 Territorios Palestinos
The Leaden Echo
King Lear 421 Traces of Garden 89 Palestinian Territories
Land Makar 393 and the Golden Echo 391
The Tempest 423 A Magical Substance
Macbeth 422 Suiza
Mapplethorpe: Three Portrait Sketches 390 Switzerland Flows into Me 42
Look at the Pictures 306 Toda una noche 420 Free to Run 290
Much Ado About Nothing 423 Where I Am Is Here 391 Horizontes 303 Tnez / Tunisia
My Scientology Movie 295
Hedi 47
Next 424 Repblica Checa Tailandia / Thailand
On the Mountain 391 The Island Funeral 90
Czech Republic
Operacin Regalo 160 Ucrania / Ukraine
Mallory 190
Piratas! Una loca aventura 161 Ukrainian Sheriffs 336
Pollitos en fuga 160 Taiwn / Taiwan
Programa - 40 aos de Rumania / Romania A Touch of Zen 344
Aardman 162 El vecino 179 Dragon Inn 345 Uruguay
163 Illegitimate 45 Le Moulin 91 AninA 165

468 [18] BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE