Gastón Solnicki

Lucius Glantz, a veteran hotel manager in Vienna, fights to save his beloved establishment from a scheming realtor's plan to demolish it, leading to a clash of wills that even affects the hotel's renowned soufflé recipe.

Vienna, 2019 – the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she’s talking to a brick wall. Moreover, she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

A young actress directs a casting for a film about the flood in Santa Fe. Between the voices of people, current, past, and her own experience of the landscape, questions begin to arise.

Gastón Solnicki combines footage of Notre Dame’s statues presciently removed two days before the cathedral’s near-decimation.

Santa Fe - notes, 2017 - 2019 is a story made up of fragments of landscapes, buildings, voices and objects. It is a film built on the relationship between art and the colony, memory and threat, native peoples and silence.

A portrait of Argentine director Gastón Solnicki's family over the course of the second half of the 20th century, Papirosen follows four generations still troubled by a war that’s never spoken of. The film juxtaposes different periods with their native image formats, along with landscapes, characters and international political events, as it focuses on a singular decade of a nouveau riche Argentine Jewish family, and the new generation’s introduction into familiar traumas and vitality.

Using personal correspondence and some passages from Ezequiel Martínez Estrada’s The Head of Goliath, as well as recreations with paper models and minor acts of architectural preservation, Incomplete Disappearance presents a series of simulations through which an identity crisis is (temporarily) avoided.