Film Archive

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Extended Reality: DOK Neuland 2019
4 Feet: Blind Date María Belén Poncio, Damián Turkieh

“I will not be a virgin forever!” We follow Juana who is just discovering her own body. On her way through the non-barrier-free city she hears the occasional comment. Her answer: “Keep calm! It’s just a wheelchair!”

4 Feet: Blind Date

360° Film
Argentina
2018
19 minutes

Credits DOK Leipzig Logo

Ezequiel Lenardón (Detona Cultura)
María Belén Poncio, Damián Turkieh
Santiago Beltramo, María Florencia Lucena Kempfer
Marcos Rostagno
María Belén Poncio, Damián Turkieh, Guido Bertisch
Martín López Funez
Rosario Perazolo Masjoan, Ezequiel Lenardón, Elisa Gagliano, Agustín Peralta, María Belén Poncio
Ariel Litivinov, Damián Turkieh
La Biennale di Venezia
Guillermo Mena
Delfina Díaz Gavier, Cristobal Lopez Baena
Rosario Perazolo Masjoan, Ezequiel Lenardón
Guillermo Mena
Guillermo Mena
Gonzalo Sierra
“I will not be a virgin forever!” We follow Juana who is just discovering her own body. On her way through the non-barrier-free city she hears the occasional comment. Her answer: “Keep calm! It’s just a wheelchair!” But the obstacle to overcome is something else: nervousness before a blind date where Juana hopes to pop her cherry.

Lars Rummel, Marie Hinkelmann



Awarded with the DOK Neuland Award.

Corta

Documentary Film
Argentina,
Colombia,
France
2012
69 minutes
subtitles: 
No

Credits DOK Leipzig Logo

Felipe Guerrero, mutokino
Felipe Guerrero
Iannis Xenakis
Andrés Pineda
Felipe Guerrero
Roberta Ainstein - Lena Esquenazi
At first the sugar cane field looks like a huge green wall, a wall that will take the workers days to overcome. The sugar cane cutters begin their day by sharpening their machetes before they start to work. Blow by blow. The camera keeps its distance as it observes their smooth movements. Soon every sense of time is lost, the sugar cane cutters’ rhythmic movements develop their own choreography, and time seems to expand. The more sugar cane they cut the brighter the screen. The sky, the hill and the green landscape surrounding the field emerge.
This flow is interrupted by a black screen like the end of a reel. Then the process begins again. The rhythm of the machetes and the workers’ steps on the dry leaves merge with the conceptual music of this film. Felipe Guerrero refrains from any sociological discourse about the cutters’ situation and working conditions. It’s the abstraction that brings out the exploitative element of this archaic labour all the more clearly.

– Paulo de Carvalho
Next Masters Wettbewerb 2017
Farewell Essay Macarena Albalustri

An intimate film essay about the death of one’s mother and the development of personal forms of mourning everyone has to find/invent for themselves to cope with painful losses.

Farewell Essay

Documentary Film
Argentina
2016
79 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Macarena Albalustri, Tomás Dotta
Macarena Albalustri
Odín Schwartz
Tebbe Schöningh
Iara Rodríguez Vilardebó
Macarena Albalustri, Tomás Dotta
Sofía Straface, Lucas Larriera
Conversations in a veterinarian’s waiting room: Liza, director Macarena Albalustri’s over-ten-year-old cat, doesn’t eat any more. The imminent death of a beloved pet evokes memories of another loss, that of her mother, who died ten years ago and whom Albalustri hardly remembers. As she is coping with the grief over her cat, buried feelings and questions are uncovered again, an emotional search begins. Using photos, letters and objects from her childhood, the director tries to re-awaken memories – in herself and in others. She talks to persons who were close to her mother, to the latter’s friends and her father. She even manages to find the psychotherapist consulted by her mother at the time. The conversations are always about coping with loss, dying and one’s own death. It’s a very intimate film essay about saying farewell, about developing rituals and personal forms of mourning which everyone has to find and invent for themselves to deal with the pain of farewell.

Frederik Lang

Father

Animated Film
Argentina
2013
11 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Dora Benousilio
Santiago “Bou” Grasso
Santiago “Bou” Grasso, Patricio Plaza
Santiago “Bou” Grasso
Santiago “Bou” Grasso, Patricio Plaza
Day by day a woman nurses her bedridden father. The dictatorship in Argentina is over – but this army daughter is lost to the world. A powerful and wordless, but profoundly eloquent puppet drama.

Oro Blanco

Documentary Film
Argentina,
Germany
2018
23 minutes
subtitles: 
English

Credits DOK Leipzig Logo

HFF Munich
Gisela Carbajal Rodríguez
Rina Zimmering
Robert Vakily
Nuno Rodriguez
The vast expanses of the salt deserts in north-western Argentina hold one of the largest lithium deposits in the world. International corporations are mining the “white gold”, depriving the indigenous people, who breed llamas and do traditional salt-mining for a living, of the precious ground water. In magnificent images and with a narrative stance that combines poetry and agitprop, “Oro Blanco” shows that the indigenous population has long ago started to take action against the destruction of “pacha mama”.

Luc-Carolin Ziemann


Nominated for the Healthy Workplaces Film Award

Focus Latin America 2012
Papirosen Gastón Solnicki

Flight, a new beginning and the social rise of a Jewish family in Argentina. The home movie genre transcended in a gripping family epic that encompasses four generations.

Papirosen

Documentary Film
Argentina
2012
74 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Pablo Chernov, Filmy Wiktoria
Gastón Solnicki
Gastón Solnicki
Andrea Kleinman
Jason Candler
It all started ten years ago when he filmed the birth of his nephew Mateo. Since then, Gastón Solnicki has taken his camera to all family reunions – whether it’s everyday meetings, a family vacation or a high Jewish holiday. The film revolves around his father Victor, the patriarch who earned the wealth of this newly rich Argentine middle class family and now, at old age, is forced to watch his daughter’s marriage fail and his family’s social status crumble.
The familiarity makes a protagonist of Solnicki’s camera and allows the audience to experience moments of intimacy as intensely as arguments and family crises. In this complex and unadorned portrait of his family, the director also narrates a story of flight, a new start and rise in society. Gastón Solnicki cleverly combines his own material with old Super 8 and video material from the family archive and transcends the genre of the home movie in a gripping family epic encompassing four generations, overshadowed by the Holocaust even today.

– Paulo de Carvalho

Project 55

Documentary Film
Argentina
2017
73 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Miguel Colombo
Miguel Colombo
Miguel Rivarola
Alejandra Almirón, Miguel Colombo
Miguel Colombo
Jorge Gutiérrez Jiménez
A historic Argentinean event, the bombing of the Plaza de Mayo in Buenos Aires by the military in a coup d’état on 16 June 1955, is haunting a filmmaker’s nightmares, though he was only born in 1978. As if the ghosts of national history had recruited him, who never saw a war in his life: as a medium to work through this trauma. He and some colleagues initiate a project of audiovisual basic research. How can one translate and communicate the experience of war at all? Or, in other words: is history a stream or a pile? The film discourse of “Project 55” seems like the slow fabrication of thoughts by talking or filming. And if this reminds anyone of Heinrich von Kleist it’s neither coincidental nor intentional but inevitable. The journey of this film goes from Buenos Aires via Vietnam and nuclear arms tests back to family history – or rather that part of history that is yet to be written by future generations.

Sounds rather cerebral? Certainly! But whoever started the rumour that films should be made from the hip? There is some sense in every sensuality – and not just in the words.

Ralph Eue
Animadoc 2014
Salers Fernando Dominguez

During the Nazi occupation, a man visits the French town of Salers, where a crazy woman follows him. Many years later, he returns to the same city and remembers.

2014

Salers

Animadoc
Argentina
2014
9 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Natalia de la Vega
Fernando Dominguez
Fernando Dominguez
Javier Di Benedictis
Fernando Dominguez
Alejandro Seba
During the Nazi occupation, a man visits the French town of Salers, where a crazy woman follows him. Many years later, he returns to the same city and remembers.

Strength and Cunning

Documentary Film
Argentina
2017
10 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Francisco Novick
Francisco Novick
Delfina Margulis
Francisco Novick, Natalio Pagés
Luciana Braga
“I think it’s the first time that I don’t march with your mom”, 15-year-old Vicente’s father tells him in the car. The rally for the victims of the last Argentine military dictatorship from 1976 to 1983 is Vicente’s initiation instead. And this is how Francisco Novick films the loud protest in the streets of Buenos Aires: as a pathetic and touching ritual.

Carolin Weidner

The Centaur’s Nostalgia

Documentary Film
Argentina
2017
70 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Nicolás Torchinsky
Nicolás Torchinsky
Pablo Butelman
Baltazar Torcasso
Ana Poliak
Nicolás Torchinsky
Sebastián González, Sofía Straface
Centaurs are mythical creatures. Half human, half horse. Gauchos resemble centaurs. Like the latter, they are a practically extinct species. Nor is there much left of their culture of nomadic cattle breeding. But there are still some survivors of the species left, especially in the north of Argentina.

Gauchos don’t do much. Nor do they talk much. They are! In the most intense fashion. Director Nicolás Torchinsky portrays an old couple’s companionship and conflicts. Which means that we, too, for the length of a film participate in this way of being in a world that seems to have been forgotten by time. We watch them like a nocturnal fire that will slowly die away in the morning if it’s not fed. Above the fire: the constellation of the Centaur, a prominent constellation in the southern sky. If it was up to the stars, the gaucho would surely still be a mythical hero. But in this world things aren’t up to the stars but to the will of people or, even more prosaic, to circumstances – and circumstances won’t have it so.

Ralph Eue

The Employment

Animated Film
Argentina
2008
6 minutes
subtitles: 
No

Credits DOK Leipzig Logo

Patricio Gabriel Plaza
Santiago "Bou" Grasso
Santiago "Bou" Grasso, Patricio Gabriel Plaza
Santiago "Bou" Grasso, Patricio Gabriel Plaza
Santiago "Bou" Grasso, Patricio Gabriel Plaza
A man on his usual trip to work, immersed in a system in which the use of people as objects is part of everyday life.
International Programme 2012
The River People Martin Benchimol, Pablo Aparo

A small town in Argentina straight from a novel by Márquez: the young people are gone and the alleys are haunted. It’s the river people, the old ones say...

The River People

Documentary Film
Argentina
2012
70 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Martin Benchimol, CaravanaCine
Martin Benchimol, Pablo Aparo
Martin Benchimol
Pablo Aparo
Martin Benchimol, Pablo Aparo
Ernestina – the residents enjoy the pleasant sound of the name of their small town near Buenos Aires. Their Ernestina seems like a pearl of tranquillity. But the oldest town in the district is also the most deserted. Ernestina is shrinking, almost no one is left but the elderly, and they seem to have one foot in the past and one in the present day. Nobody can or wants to imagine tomorrow.
Things are seething under the idyllic surface. Many institutions have been vandalised. It was the river people, everyone agrees. As for the rest, every resident has their own interpretation of the strange goings-on in Ernestina. There’s been a security guard with a baseball cap and gun watching over the nocturnal calm lately. Where did he come from? No one knows for sure. And yet he has become the lonely defender of the main square against the phantoms from the river – and the wind. You can literally read the story of the place in the faces of the interviewees in this film. Each one represents an aspect of the Ernestina of the past: the shop, the church, the theatre, the camping ground, or the hotel, whose beautiful tiled floor recalls its former heyday. Their stories combine to create the atmospheric picture of a place where the clocks were stopped to make way for a multitude of realities. The setting of a novel by Gabriel García Márquez might look like Ernestina.
– Lars Meyer