Manuel Abramovich

ZAMA (2017, Lucrecia Martel) didn’t come alone. It brought with her a shooting journal written by Selva Almada –El mono en el remolino– and this documentary by Manuel Abramovich, who, as a sound intruder, captured the meticulous work of the director from Salta and the warm, human, joyful precision.

After being expelled for a flagrant foul during a match in Primera C (the fourth division in Argentinian football), Patón Bonasiolle, the captain and midfielder from Talleres de Escalada, realizes his career as a footballer has come to an end. At the age of 35, this means the end of a world he has known since he was a child. Together with Ale - his wife - he looks for a fresh new start.

Lalo is a sex influencer: he posts photos of his naked body and homemade porn videos for his thousands of social media followers. Lalo directs his own life, but in private, when out of character, he seems to live in constant melancholy.

A boy raised in the mountains films his home surroundings. He shows his sister, his father, their house with a treehouse in the garden, and the family’s old dog. He runs and cycles while holding the camera, creating choppy, chaotic images that match the energetic life of a child.

Theatre of War is an essay on how to represent war, performed by former enemies. British and Argentinian veterans of the Falklands war come together to discuss, rehearse and re-enact their memories 35 years after the conflict.

A young man decides to join the army. He becomes the drummer in the military band, and his everyday life is now a combination of military training and music. What does the Argentine Army do these days, more than thirty years after the dictatorship? What does it mean to be a soldier in a country without wars?

After a party, Agos and Ren find themselves in a strange place where they remember to have been before… A failed world bursting with dependences and doors leading to the same yet different place.

“The possibility of writing letters must have brought to the world a terrible disturbance of souls. Because it is a relationship with ghosts - and not only with the ghost of the recipient, but also with his own. Who is allowed to allow people to have correspondence relationships! ”Letter from Franz Kafka to Milena Jesenska, 1920.

Beatriz Portinari is not only the name of the inspiring muse of Dante Alighieri, but also the pseudonym with which the Platense writer Aurora Venturini was presented in 2007 to the Nueva Novela contest, organized by the newspaper Página 12, in which she won the grand prize for their work The bonuses. Full of mischief and grace, vitality and mystery, with great character and lucidity, this woman who throughout her ninety-one years never stopped writing, had a life totally linked to the literature and history of the twentieth century: she knew , was a friend and worked with Eva Perón in a minority center; in his exile he became associated with Simone de Beauvoir and Jean-Paul Sartre, among others; and received a prize from Jorge Luis Borges, among many other things.

Against a green-screen backdrop, a group of children and adults ask themselves questions about their gender. In a natural space freed from normativity, the possibilities of rewriting the scripts of their lives become infinite. Acclaimed director Manuel Abramovich and his performers invite us into a dazzling new reality of desires and possible futures.

Three firefighters try not to fall asleep while waiting for a fire to make them leave the barracks. "Incendio / Rescate" watches closely, in an almost dreamlike way, these characters who spend their time waiting for the opportunity to become heroes.

Young men from all over the world have been meeting at the Blue Boy Bar in Berlin for forty years.

In 1991, Flavio Cabobianco published his book “I Come From The Sun”. He was 10 years old and defined himself as a messenger from other planets. The book became a bestseller in Argentina and was translated into six languages, launching a media boom that turned Flavio into a New Age phenomenon. Twenty years later, Flavio decides to re­publish his book and agrees to be part of a documentary about his story. After a year’s shooting, Flavio, unhappy with the pre­established roles of the movie, comes up with the idea of switching roles between himself and the director. If his demand is not met, he will abandon the film. Flavio’s questioning leads to a change in the course of action: “Solar” is no longer a movie about Flavio and his family, but a power battle between director and subject.

Every Christmas, Jorge and Jorge Jr. decorate their house in a special way. The people in the village call it 'The House of the Lights'.