National “Screenshot” in defense of Argentine cinema

National “Screenshot” in defense of Argentine cinema
National “Screenshot” in defense of Argentine cinema

Screenings, cycles, retrospectives and talks in different parts of the country, with classic and new titles from our production, also represent a challenge to the current times.

National cinema continues to fight in various fieldsand it is doing so in free functions, outside the commercial circuit. Sometimes, just for the pleasure of sharing its existence, like “Conversations with Ernesto Sábato”, by Pablo César, filmed in 1983, recovered and restored 40 years later, to be exhibited tomorrow at 6:00 p.m. in the President Alfonsín Hall of the Legislature. César himself will then speak with the public.

Other times, films are presented as a gesture of defiance in the face of current times.. This is how Friday will happen, with the National Screenshot in Defense of Argentine Cinema that the Organized Regional Cinema Assembly prepares at various points, with titles such as “Man looking southeast”of the remembered Eliseo Subielain Ensenada; “Cyprian. I did it on October 17th”, of Marcelo Galvezabout the ignored Cipriano Reyesin La Plata, “Silence on the Rivera”, by Igor Galuk, in Neuquén, and others, in Lincoln, Córdoba, etc. Locations are added daily.

There are others, also free, on the platforms, such as “The ceremony”, by Darío Arcellawhich can now be seen on Cine.ar.play, a work of years following the rites of initiation into adulthood of the children of the Ishir tribe, Chaco Paraguayo, a work that had the support of Canadian and Tupi-Guarani organizations, in addition to the Incaa of other times.

Likewise, until the 12th you can see some of the films that participated in the 7th Finca, International Environmental Film Festival on Lumiton.com.ar, such as “The flood” (Ezequiel Erriquezthe future of Panambi, border with Brazil), “What I wouldn’t give for the memory” (Tino Pereiraold sulfur workers want to turn the mine where they worked into historical heritage) or “Wacay, women of tobacco” (Belén Revollo), along with films from Switzerland, Colombia, France and Mexico.

Incidentally, at that festival, among more than 60 titles from about 20 countries, “The Agronomist” took the podium, from Martín Turnes, with Diego Velázquez, “For the Paraná” (F. González and Di Risio), “The legacy of the Andes” (Hernán Vilchez) and other works done by people from all over the country.


Thirteen excellent documentaries about as many important Argentine figures (Borges, Cortázar, Héctor Tizón, Laiseca, the historical negative cutter Margarita Brondoloetc.), made between 1999 and 2007 by Contrakultura Films, have just been donated in perpetuity to the Recoleta Cultural Center by the Documentary Film Funda nonprofit organization based in Charlottesville, Virginia.

Behind this move there is only one name: Eduardo Montes-Bradley, who made and/or produced those and other films, sometimes under a pseudonym, and then moved to the US, where he is making some notable works, of recognizable maturity, interest and beauty. Maybe we didn’t lose him completely, but it’s clear that he has grown better elsewhere. Will that be the path of those who are currently showing his films here?

Source: Ambito

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