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From her encounter with Eva Perón to the death of the icon, from her fascination with the Peronist cause to the persecution she will suffer after the Liberating Revolution, film star Fanny Navarro remembers her life walking today in the streets of Buenos Aires.
Two female producers are commissioned to create a short documentary for an exhibition dedicated to Rubén Santantonín, an elusive figure of the Argentine avant-garde who died very young, in the late 1960s. However, the client imposes one unexpected condition: the video must be made together with David Lamelas, Santantonín’s former collaborator and today an internationally recognized figure of conceptual art. At first, the plan seems clear and limited in scope: Lamelas, accompanied by a young film crew, gathers archival materials, documents the few surviving works, and interviews curators and major artists – such as Luis Felipe Noé and Marta Minujín – who, along with Santantonín and Lamelas, peopled the legendary scene at the Instituto Torcuato Di Tella. Lamelas gradually realizes that reconstructing the story of his friend also means confronting a series of gaps and contradictions.
Portrait of the mythical ballerina Iris Scaccheri, made entirely with photographies.
Joan Crawford is a Hollywood legend. She star of bright and somber melodramas. She reigned on the screens for several decades, but every kingdom has her sunset. At that twilight moment, and as if trying to escape that crossroads, Joan decides to call the notable American artist, the greatest exponent of Pop Art: Andy Warhol. Her intention is to replace her muse, Elizabeth Taylor, in the serigraphs that the artist will present at the Ferus Gallery in Los Angeles. This intrusion will give rise to a telephone conversation where the queen of melodrama will confirm that the world has changed and that her cinematographic life in black and white is already part of an implacable past.
Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.
Several shots that were born to be mere appendices of other more important ones, are reorganized to shape another narrative, forming a stream of images and sounds with no plot, no characters, no motive, but that advances irresponsibly towards nowhere.