David Oubiña

An actress and her director are filming a movie. Through various texts ranging from monologues by Brecht and Joyce to tango songs by Libertad Lamarque, the film reflects on actors and acting in cinema.

In 1969 Argentine filmmaker Hugo Santiago directed Invasión, his opera prima, written by Jorge Luis Borges and Adolfo Bioy Casares, and later settled in France. This film documents his return to Buenos Aires in 2013 to shoot his latest film, Le ciel du centaure.


Isolated in his apartment, old and forgotten by almost everyone —whom, in turn, he has also forgotten— Rafael occupies the hours of his daily life with various rituals and repetitions.

A film about the Argentine opera

Forensic anthropologists use laser technology to search for clandestine graves of the dictatorship in the scrubland. Valeria, the daughter of disappeared people, coordinates the search. Otilia, Mother of Plaza de Mayo, awaits news of the past.

Argentine helmer Rafael Filipelli's understated and deliberate, slice-of-life drama Night Music (AKA Musica Nocturna, 2007) unfurls over the course of four evenings, with its depiction of an emotionally-strained marriage between husband and wife Federico (Enrique Pineyro) and Cecilia (Silvia Arazi), which Filipelli sets against the backdrop of semi-vacant, nocturnal Buenos Aires. He is a music critic pushing 50 and grappling with the completion of his first book; she is a playwright, in rehearsals for a major new production. Both have hit an emotional lull in their marriage that inspires each to coolly flirt with infidelity. As Federico flirts dangerously with the theatrical director's assistant, Cecilia reconnects at length with a past acquaintance, belletrist Sergio (Horacio Acosta), who may or may not have been amorously involved with Cecilia at one time.