Temporada de chicas
Women filmmakers in Argentina
To understand contemporary Argentine cinema you have to start in the 1960s, when filmmakers such as Leopoldo Torre Nilsson, David Kohon, Manuel Antín, Rodolfo Kuhn and Hugo Santiago were searching for new forms.
With the military dictatorship from the mid-1970s, those searches, dialogues and conflicts were interrupted abruptly and violently. If the history of a community is usually written by whoever won the battle, that is especially evident here: an entire generation of filmmakers disappeared.
“La Ciénaga” arrives like a thunderclap waking the south after years of political emptying. Its very first sequence dismantles the tradition of Argentine social realism. For the Latin American film community there is a before and an after — not chronologically, but paradigmatically.
In the selection of films by Argentine women directors that INVASION presented at the Filmmuseum München lives a will to represent: six first features by young directors, shot between 2015 and 2017, share characters who find new versions of themselves in the process of becoming — not without surprise, pain and hesitation.
The films
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El futuro que vieneConstanza Novick, 2017, 84 Min.
Romina and Flor have been friends since childhood. Across two decades, the film follows what becomes of closeness when two lives take different directions.
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El futuro perfectoNele Wohlatz, 2016, 65 Min.
Xiaobin has just arrived in Buenos Aires from China and is learning Spanish. With every new tense she tries out another version of her future.
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Temporada de cazaNatalia Garagiola, 2017, 105 Min.
After his mother's death, seventeen-year-old Nahuel is sent to the father he barely knows: a hunting guide in the mountains of Patagonia.
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La larga noche de Francisco SanctisA. Testa & F. Márquez, 2016, 84 Min.
Buenos Aires, 1977. An apolitical office worker happens to learn the names of two people who are to be arrested that night. He has hours to decide.
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La CiénagaLucrecia Martel, 2001, 103 Min.
Two families, a sweltering summer in Salta, a pool thick with leaves. Martel's debut dissects a class in decay — and changed Latin American cinema.
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Ensayo de despedidaMacarena Albalustri, 2016, 75 Min.
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CetáceosFlorencia Percia, 2017, 77 Min.
Clara and Alejandro move in together, but no sooner are the boxes there than he leaves for a conference. Alone among unopened crates, Clara says yes to whatever is offered — a quiet comedy about postponed desires.