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A Chilean-Argentine intervention that mixes dance and cinema, in which outstanding dancers "come back to life" through their movements. They appropriate public and emblematic places in the city of Santiago that, paradoxically, are empty. Les Revenants is a work-installation consisting of six different dance solos, which were recorded in emblematic buildings in Santiago that were empty due to the pandemic. These records were projected in different places in the city -such as advertising posters, walls and screens-, in what was its premiere, during Santiago a Mil 2021.
María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.
Film version of the work of Irish author Samuel Beckett. Carried out by the pianist Margarita Fernández, Alejo Moguillansky and Martín Bauer.
MONTAGE is a film record of the Montaje/Lachenmann recital presented by the Proa Foundation on November 8, 2013 in collaboration with the Contemporary Music Series. The recital project revolved around three Pieces for three soloists by Helmut Lachenmann, a nucleus that manifests itself as an index of radicalism from which a story of the direction that guides the career of its author can be undertaken. The program concluded with the simultaneous performance of those three Pieces, a version that appears in the Lachenmanian catalog under the name of Montage and for which there is no score or record. What is heard at the conclusion of this documentary could be the only record, so far, of that ghost version that the composer advises not to try.
At the end of the world, we follow the only two remaining creatures: One covered in grass and one covered in hair.
Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.
A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.
The documentary registers with detail this first visit to Argentina. It's a meditation on the artistic and conceptual processes that Ai Weiwei needs to think of his art. The images dialogue between the director and his instagram, revealing an intimate side, close to the people.
With scenes at times current and at others medieval, dramatic or overloaded with useless gestures, Jarry, Ubú Patagónico is a dialogue with “Ubú Rey”, by Alfred Jarry, and his decalogue about theatre. The work also explores Jarry's non-theatrical texts until the material is appropriated in its immateriality by a group of Patagonian Indians who take Mother Ubú prisoner.
El Pampero records Chantal Akerman's visit to Argentina in 2005.