Alejo Moguillansky

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.

Martin moves around Buenos Aires at night, picking up guys, going to clubs, scoring drugs and having sex. Sometimes he’s paying and sometimes his trans sex-worker friend or another woman takes him along for a threesome.

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.

A Chilean-Argentine intervention that mixes dance and cinema, in which outstanding dancers "come back to life" through their movements. They appropriate public and emblematic places in the city of Santiago that, paradoxically, are empty. Les Revenants is a work-installation consisting of six different dance solos, which were recorded in emblematic buildings in Santiago that were empty due to the pandemic. These records were projected in different places in the city -such as advertising posters, walls and screens-, in what was its premiere, during Santiago a Mil 2021.

Every year, for one week, more than 150 trombonists come from different countries to meet in Santa Fe, a small city on the banks of the Paraná River, where they participate in collective courses and individual classes, and perform and listen to music.

Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.

Ale was a thief and the police shot him in a raid after he was betrayed. A puzzle of visual and testimonial elements takes us deep into this unsolved story. Based on a particular event, 
Orione faces us with situations we would rather not see.


At the end of the world, we follow the only two remaining creatures: One covered in grass and one covered in hair.

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

Vicente has a hobby of breaking Guinness records. Years after making a record-length pancho, he organized an art and gastronomy residency to seek his second challenge: The largest empanada in the world.

MONTAGE is a film record of the Montaje/Lachenmann recital presented by the Proa Foundation on November 8, 2013 in collaboration with the Contemporary Music Series. The recital project revolved around three Pieces for three soloists by Helmut Lachenmann, a nucleus that manifests itself as an index of radicalism from which a story of the direction that guides the career of its author can be undertaken. The program concluded with the simultaneous performance of those three Pieces, a version that appears in the Lachenmanian catalog under the name of Montage and for which there is no score or record. What is heard at the conclusion of this documentary could be the only record, so far, of that ghost version that the composer advises not to try.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

Gore short film directed by Hernán Sáez and starring Paulo Soria from FARSA Producciones.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

Film version of the work of Irish author Samuel Beckett. Carried out by the pianist Margarita Fernández, Alejo Moguillansky and Martín Bauer.

A "cinematic object" by Mariano Llinás, divided into 9 chapters, based on the poetry of Henri Michaux.

A film about the Argentine opera

Garbiñe Ortega, artistic director of Punto de Vista, devised the creation of a collective audiovisual project with the collaboration of the filmmaker Matías Piñeiro in which several filmmakers will make a filmed letter addressed to another filmmaker in the history of cinema that they did not know personally and that he was as far away as possible from his own cinema. Thus was born Las cartas que no fueron también son

El Pampero records Chantal Akerman's visit to Argentina in 2005.

This film, Diario de el Loro y el Cisne, is one of the results of this process of writing directly over the images and sounds. It is made entirely from discarded material from the film Loro y el Cisne. I'm not entirely sure of the result. The only thing I can say about it is that it's extremely sincere.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.

A young Argentinian woman who works as a museum guide uses her passion - reading - as a means of expression to channel the emotional and working lives of those around her.