Mundial 78

The movie follows a group of children living in the streets in the city of Buenos Aires. The only day center working is the CAINA (Centro de Atención Integral a la Niñez y Adolescencia) an institution that assists and shelters street children.

Images from the texts of Rumi, 13th century Sufi poet.

The Aleph is the point where diachronic and synchronic times meet, and each second represents a moment in life, from birth to death.

This documentary is an approach to the experience of seeing and listening to the trajectory of Narcisa Hirsch, a pioneer of Argentine experimental cinema, but who has also been part of the happenings and performances of the 1960s and 1970s.

on the image of a collage on the wall, the voice of a woman describes a man the interior space of a workshop that is not seen.

About the music of Steve Reich, a phrase be phased out as the image it makes the reverse movement.

A portrait of Narcisa Hirsch, Argentine filmmaker, pioneer of experimental cinema. The artist explores the path of her memories, where the traces of some men appear, which are transposed with the constant reference to the desert.

Twins still in their amniotic fluid announce our human condition, our compulsion to walk, move forward, run. When everything moves, we go through the forest of emotions in a dreamlike way. But it is thanks to water and its light reflections, to its transforming power that the infinite “Kosmos” plays with our uncertainty.

"The world is a tarantula ... a big, dark tarantula, moving around weaving its own web." A journey into myths and origins of the world with the grand dame of Argentine avant-garde cinema. See the Earth as it really is: A marble spinning in a sea of eternity.

Portrait of women where they look at the images of their own faces and reflect on that experience.

A tribute to Virginia, a 23-year-old girl who apparently committed suicide in Ibiza. Excerpts from her letters to Narcisa, written on the walls, appear in the film as a leitmotif.

Patagonia reflects Hirsch's close connection to Argentina’s natural world and the people around her.

The camera takes in the Patagonian pastures, then the faces in an old warehouse, and transparent photos of Patagonian scenes. Everything is filtered by an amber light. (Narcisa Hirsch Filmoteca)

An unpublished piece by this pioneer of experimental cinema with the participation of Elías Cherñajovsky and Sergio Levin.

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.