National cinema is discussed daily for its survival

Good news for the lovers of the old Argentine cinema, not so good for present and encouraging cinema (within what fits) for the future.

For the coming times, the province of Salta He ordered an audiovisual promotion of 85 million pesos, part of which will be applied to the support of ten local projects already selected (among the beneficiaries, Emmanuel Moscoso, Mariana Carrizo, Laura Basombrio and Alejandro Gallo Bermúdez). Jujuy approved the support subsidy to the postproduction of three documentaries underway, within a plan that includes 22 promotion lines and a reimbursement program of up to 40% (curious, the title of one of those documentaries: “ORIGINARY AND METALERO JUJUY”).

Culture of the City of Buenos Aires begins to develop an agreement with Netflix and the Argentine Chamber of the film industry, CAIC, which provides for a series of master classes, a call for the support of second films and, in April 2026, a federal meeting of producing companies throughout the country.

At the moment, the existence of Creole cinema seems like an ant work. Each week they arise and circulate as new films made by lungs, budget and reduced reach, but many of them frankly worthy of being taken into account.

“The real image”of Pablo Montlauwell -armed reflection from two famous photos taken respectively by an Argentine and an English at the beginning and end of the Malvinas War. Or the “Internal Bulletin” of Meri Franco Maohurt portrait that the director makes of his father, expelled from the workers party for repeated robberies, scams and blows to his wife, “The Lunar Order”of Diego Arandojoabout the painter Juan del Pivaand “What would I not give for the memory”successful title with which Tino Pereira paints some old miners in his annual pilgrimage to the sulfur deposit that was his life, and the life of their families and the people, until some intelligent decided to close it for economic reasons.

No cinema in prisons

Another closure, the cinema program in prisons, which the intervention of the INCAA already suspended in its first days of management, was now definitely eliminated, under the excuse of being a program of the previous administration that drained millions of pesos annually of the national treasure. Three errors: Cinema in prisons FEU created in the first months of the Mauricio Macri governmenthe never threw more expense than to pay an actor, and the national treasure does not come in case because INCAA is still autarkic and moves with the 10% tax to each film entrance, and something else to the broadcast of films on television.

An advertisement in line: this Friday and the next two, on the usual horror nights of the Gaumont it is pre -destroyed “Jasmine”of Samot Márquez“Supernatural suspense” with Clara Kovacic.

The luminous past

News of the good memory that some films leave: this Thursday the 49th Jerusalem Film Festival begins a small retrospective of the experimental cinema of the remembered artist Narcisa Hirschon Saturday 27 the Museum of Buenos Aires offers an anniversary function (50 years) of “Trapito “of García Ferréin copy 35 mm. and with the presence of technicians and bending of said film, and in the Classics section of the next Venice Festival, which begins on August 27, a western can be seen in a new copy of which HUGO FREGONESE directed in Hollywood: “The renegade brand”with Ricardo Montalbán and Cyd Charisse (Original title: “Mark of the renegade”1951).

And here comes the best: the next Mar del Plata Festival, the 40th, which begins on November 6, will also have a section of classics, and will have to open it with restored versions of three films released in 1975: “La Raulito”of Lautaro Murúawith Marilina Ross, “Jewish gauchos”of Juan José Jusidwith extensive cast, and “The pig war”of Leopoldo Torre Nilsson. To especially celebrate the recovery of “La Raulito “whose copy was already lost.

The melodrama of Hugo del Carril “beyond oblivion” and the formidable “Rosaura at 10”of Mario Softficiin the brand new copies with which they were exhibited in Cannes Classics of 2024 and 2025. Foundation Gotika has just restored “the furias” and “the models”, that is, the two films of Vlasta Lahthe first woman who managed to direct not one but two feature films in our country. And, according to advances, several films of José Martínez Suárez and Fernando Birrito celebrate their respective centenarians. All this for happiness of those who say that Argentine cinema was better (and they don’t lack a reason).