Paulo Pécora

A hot summer weekend in Buenos Aires. Jorge and Mabel spend their last hours together as a couple in their family home that has already been sold.

Visions and nightmares of a woman who escapes her own shadow.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

Four friends live together in an abandoned house, wearied by the tedium of knowing that their lives will be tomorrow the same as today, a year from now the same as tomorrow, a century from now the same as a year from now. Being eternal was their sentence.

A couple of ghosts spend their leisure hours playing in the fields, enjoying nature and the eternal words that Rainer Maria Rilke wrote over a century ago to a young poet. The film was shot with a photo camera.

The full weight of someone Else's flesh squashes Maria' s inert body.

A man descends down a spiral of memories from an old relationship. Melancholic set back? Or gateway to a new emotional perception?

A man steals his wife's diamond ring and sells it to buy a pinball. Three friends travel to the coast to buy a pinball but are scammed and receive unexpected help. A woman accidentally kills her lover, disposes of his body, and later learns that he might have diamonds on top of him. Three absurd stories of love and crime around the popular machines.

In a world where technological progress is conceived as an arrow pointing forward, why do some people insist on continuing to work with equipment others refer to as obsolete? Analog Thinking answers that question by documenting the meticulous work of those who choose that path. The screen becomes filled with wonderful objects—optical toys, cameras, projectors, film stock cans, moviolas… And the testimonies from those creators invite us to discover a universe that has a lot to do with both craftsmanship and the collective experience—an instance of thinking with your hands that is only possible with curiosity and patience. And among the words, practices and artifacts, Analog Thinking also saves a place for the images that are born from all of that. And it reminds us that, even in this digital age, they still have a lot to teach us about waiting and making mistakes, surprise and beauty.

The path of a man to restart his life after a personal tragedy that leads him to leave the city and move to an inhospitable place that allows him to be reborn.

Carolina travels from Montevideo to Buenos Aires to take some time off from her relationship and, seizing her stay, she visits her deceased grandmother's house to see what she can recover among her belongings. In one of the books she finds, she discovers that she corresponded with a man named Pablo.

Collective film made in times of confinement. April 2020. The film gives visual form to inner worlds—what the directors see and how they see it. How they inhabit their spaces, their bodies, their fears and perspectives in isolation, and how they connect with the “outside worlds.”

More isolated than the sea, always light and powerful: confusion, my sister, the woman with 100 heads. Loosely inspired by the collages and graphic novels of Max Ernst.

On the boardwalk in Havana floats the cloud of uncertainties of an abandoned woman.

A documentary about the Costanera Sur (south boardwalk) of Buenos Aires, Argentina, including Super 8 filmmakers, conspiracies, choripanes and myths.

Marina, Sofía and Violeta are three teenage sisters who have just suffered the loss of the grandmother who raised them. Each one will live the mourning in her own way, in a house inhabited by a myriad of memories, responsibilities and tensions.

Stimulated by the studies of a French ethnologist, his Argentine colleague, Hermes, travels through his country, Angola and Ethiopia to determine with the help of the young Angolan Oko, Ayelen and the Egyptologist Esteban if humanity is the creation of extraterrestrial amphibian beings.

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.

A woman, a mountain, a nightmare.

The hands of Narcisa Hirsch, a nonagenarian, open another Super 8 film cartridge to load a camera. In what seems like a ritual of passing on a legacy, the grandmother and her grandson, Tomás Rautenstrauch, watch a film of a meadow that gradually fills the frame.

In a house hidden in the middle of the jungle, a clairvoyant is visited by three strangers who ask for her help in invoking an ancestor at a séance. This unwanted encounter soon turns into a nightmare.