The Sun

Lava (2019), the animated film Ayar Blasco presented at the 34th edition of the Mar del Plata Film Festival, left many subplots unresolved in a sci-fi narrative in which an alien civilization dominated the planet through technological devices. This incompleteness, which could then be attributed to the director’s aesthetics, always free and prone to absurdity, was actually a pause that now, four years later, is resumed. The protagonist continues to be Débora, a somewhat insecure tattoo artist who ends up involved in the resistance when a new batch of invaders threatens to wipe out every single record of the human race. With the childlike strokes and the uncontrollably innocent humor characteristic of him, Blasco continues to shape his own epic, a hallucinated version of El Eternauta, with click beetles and all.

A journey through the conflicting relationship between a man, his social environment and codes.

In 1997, 17-year-old suburban Buenos Aires filmmakers Pablo Parés and Hernan Sáez pooled $450 to co-write/produce/direct and star in a shot-on-VHS zombie epic of such flesh-ripping, gore-spewing greatness that it instantly drew global cult acclaim and redefined the possibilities of extreme DIY horror. Over the next 20 years, Parés, Sáez and their friends would create two increasingly ambitious – and equally brilliant – viscera-soaked sequels (and several short films) that made them “Argentinian George Romeros who’ve built a small empire of gore flicks”

When his pet is killed by a probe from earth, Mercano, a Martian, travels to earth angered. Landing in Buenos Aires, at first noone takes any notice of him.

Deborah makes a living by drawing the skin of her clients. One night, her housemate invites her boyfriend and friend to their house. Sitting in the armchair, they consume the series of the moment, Gain of Clones, until, suddenly, the signal is cut off and the screen is dyed red while subliminal images float. No one remembers what happened the last two minutes. The answer will be in the enigmatic presence of giant cats that will later invade the city.

A film buff, after being fired from his job, embraces his compensation in pursuit of making his debut feature: a short film for which he has neither the actresses, nor the script, nor the slightest idea of ​​where to start.

Movie adaptation of Leonardo Oyola's novel, which tells the story of the legendary DC comics superhero, Superman, if he, instead of falling in Smallville from Krypton, would have landed in the heart of Isidro Casanova, in La Matanza, deep in the west side of Buenos Aires.

María Fernanda and Roberto have a tortuous relationship: they spend most of their day fighting. Problem is, their fights irradiate a laziness wave that overcomes little by little all of humanity. Both of them will have no other choice but to work out their problematic relationship, before the Laziness Wave destroys the world.

A hungry pidgeon finds a box of popcorn, down on a bench, and tries to reach it. The only thing it stops him to get it it's the rain.

Compendium of videos animated by Ayar Blasco until 2022. The film, released directly on YouTube, includes recurring characters such as the Spoiled Child, the Rasbernardo Kitten and the first installment of the Disney Mouse in stop motion.

Chimiboga is the delirious animated world proposed by Ayar B, director of "Mercano: El marciano" and his recent feature film "El sol", where great and absurd characters coexist, among which Don Luis and his children, the rabbit Bugs Buni and the Disnei Mouse. Here, in this Chimi-Film, released directly to DVD, all the animated shorts from the Chimiboga.com site are compiled, plus some rarities, and with this it aims, in turn, to entertain everyone with its deranged stories. Chimiboga is, then, pure bizarreness and lysergy. Yes, the definitive humorous compilation.

"Chimiboga: Chimicompilado 2020" is a compilation video of animations created by Ayar Blasco until 2020. The film, released directly on YouTube, includes recurring characters such as Bugs Boni the rabbit, Don Luis and Disney Mouse.

El ratón Mikey offers a harsh critique of issue 49 of Fierro magazine in its second run.