El Rayo Verde

Two female producers are commissioned to create a short documentary for an exhibition dedicated to Rubén Santantonín, an elusive figure of the Argentine avant-garde who died very young, in the late 1960s. However, the client imposes one unexpected condition: the video must be made together with David Lamelas, Santantonín’s former collaborator and today an internationally recognized figure of conceptual art. At first, the plan seems clear and limited in scope: Lamelas, accompanied by a young film crew, gathers archival materials, documents the few surviving works, and interviews curators and major artists – such as Luis Felipe Noé and Marta Minujín – who, along with Santantonín and Lamelas, peopled the legendary scene at the Instituto Torcuato Di Tella. Lamelas gradually realizes that reconstructing the story of his friend also means confronting a series of gaps and contradictions.

From her encounter with Eva Perón to the death of the icon, from her fascination with the Peronist cause to the persecution she will suffer after the Liberating Revolution, film star Fanny Navarro remembers her life walking today in the streets of Buenos Aires.

A brief record of the insects and arachnids that visited my house during a very hot summer in Buenos Aires.

Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.

A story rescued from the memory of an old woman exposes a fascinating parallel between humans and numbers.

The tale of a family during the 20 th century, built from archive footage. Through an imaginary dialogue between two characters a plot begins to weave that finally reveals who they are—a father and a daughter, and the peculiar history that binds them.

In 1973 Hugo Santiago made Les Autres, his second feature film. The film was produced in Paris by a team composed mostly of Argentines, and written together with Jorge Luis Borges and Adolfo Bioy Casares. Even so, the film ends up representing France in the official competition at the Cannes festival in 1974. That premiere is a great scandal in which political reasons and film criticism are confused. In this brief introduction, Hugo gives us some clues to better understand his most unknown work, and suggests that after the controversy unleashed in Cannes his career changed forever.

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.