DOCA Documentalistas argentinos

In January 1972, during General Lanusse's dictatorship in Argentina, a group of revolutionary activists occupied the National Development Bank, just meters from the Government House, expropriating 450 million pesos (approximately 10 million dollars today) for their cause. This was made possible by Oscar Serrano and Ángel Abus—activists and bank employees—who spent two years preparing what would become the biggest blow to the dictatorship's finances. Forty years later, Oscar and Ángel, along with a group of actors, recreate those events that changed their lives. In this dialogue between generations, the young people transform their perspective on activism and commitment during those years. Narrated through several cinematic layers, Seré Millones (I Will Be Millions) offers an innovative story that blends humor, rigorous historical research, and the epic spirit of the era.

Documentary film on the critically acclaimed novel El traductor by Salvador Benesdra, a journalist in midst of crisis in the mid 90s. Unable to publish his work, he kills himself.

The journalist Andrés Oviedo must write about the murder of a young political activist Mariano Ferreyra for the magazine where he works. Oviedo performs a series of interviews and dialogues with familiars and friends of Ferreyra. The search for the truth and the motifs of the crime lead him to confront his publishers, who removed him from the case. In front of the arising complications, Andrés doubts to proceed with the investigation, but the support of his daughter, of the same generation as Mariano, helps him to continue. (FILMAFFINITY)

The film investigates an industry considered one of the pillars of growth during Kirchnerism in which, during these years, relations and conflicts were drawn between the manufacturers - foreign in its entirety -, the auto parts companies, the Argentine government, the Brazilian one, the union leaderships. -centrally from SMATA-, the workers and the left. The documentary delves into the interests that intersect and the confrontations that originate between the different actors in the chain, which became clear in recent times when the industry, which aspired to reach one million cars manufactured per year, began to regress. The different actors of the "Journey to the Center of Production" are intertwined in the conflict of the auto parts company Gestamp, which opened a dispute regarding who pays for the crisis in the sector and what solutions are seen in that dispute.

Bernardo has turned 90 and is working to realize a dream: to make a film about art. He spends countless hours writing the script. He understands it's an arduous and complex task: What is art? When is there art? What is the purpose of art? Antonio, his friend, decides to collaborate, lending his knowledge and experience to the project. Marcelo meets Bernardo through Lucy, his partner of over 60 years, and finds him deep in his work, immersed in the uncertainties, frustrations, and joys inherent in any creative process. Watching him work, something of Bernardo's dream awakens in Marcelo a desire, another dream. He offers his help, while also asking to be able to capture Bernardo's daily work with his own eyes, thus creating his film. A dream that gradually shifts from the work Antonio sculpts on Bernardo's camera to Marcelo's gaze.

A tribute to Santiago Álvarez, a great innovator in the language of Cuban newsreel images, presented by the ICAIC over the course of thirty years. This unique figure in Latin American cinema is reconstructed. Told as a game of Chinese boxes (documentaries within documentaries, authors within authors, images within images), Álvarez's obsession is revealed to be identical to that of his disciples: to confront the reality of Cuba with other realities, staging aesthetic operations that are nevertheless political operations, always in favor of the Revolution.

Documentary about Maximiliano Kosteki, one of the two young activists killed in the so-called Avellaneda Massacre in 2001. Young Joel follows in Kosteki's footsteps, guided by the questions that marked his life: Who was Maxi? What was Maxi doing there the day of the massacre?

During the last argentine military dictatorship, the Army developed a systematic plan for the abduction of children, with maternity wards inside the clandestine detention centers. This film proposes itself as a trip to the truth "to bring to light the places where lots of babies saw the light for the first time"; Three restored children show the part for the whole :how a genocide was orchestrated,a scheme which planned the deprivation of identity of babies born in captivity, children of illegally kidnapped and detained women.

In Argentina, three million people are unaware of their origins; the film's director is one of them, and her personal search has now lasted two decades. During the pandemic, a group of children abducted from their families and mothers, whose babies were taken from them, victims of human trafficking, joined together to demand in federal court that their violated rights be restored and that they finally uncover the truth.

The youngsters housed in the "Almafuerte" Maximum Security Juvenile Institute have their first approach to audiovisual recording. A film and documentary video workshop serves as an excuse for them to make a short film inside the prison. The camera is a rabid toy that generates fascination in them and rescues a sheltered, innocent smile that seemed forgotten under the shadows. While inside libertarian cries bounce against the walls, outside sounds fanfares of an iron fist.

A group of inmates decide to take on a workshop to act the life of Andrés Bazán Frías. Bazán Frías was born in poverty at the end of the XIX century and was known for stealing food to give to his neighbors. In 1923 he was murdered by the police. He became known as the "Robin Hood tucumano", and is now hold as a saint amongst the inmates.

Documentary about Eduardo Longoni, the photographer who captured decisive moments in the last 40 years of Argentine history.

On October 5, 2010, Alejandro Bordón was arrested by a police officer on his way to work. After a brutal beating, he was taken to Police Station No. 6 in Lanús, where he was informed that he was accused of the murder of bus driver Juan Alberto Núñez.

Two women, granddaughter and grandmother, discuss the stories and contradictions of our gender and class, while sewing. Outside, a new generation of feminists takes the streets.

During the dark years of the last dictatorship in Argentina, at the end of 1979, in the city of Rosario,an experimental art group called Cucaño, made of very young adults, emerged. They felt the need to express their discontent against the dangerous and deadly environment while at the same time they were searching for their own identity in their adolescence. They created a notable collective work,fleeting but substantial, which was the most thorough response that a young person could give or give to themselves in those times of extreme repression against self expressions.

In Argentina, the role of the security forces is under discussion and scrutiny. However, a group of people has been fighting to initiate a debate that democracy has never allowed regarding unionization and workers' rights.

tells the experience of a group of medical students who travel to the north of Argentina to assist different indigenous communities that suffer the dispossession of their lands and structural poverty.

A documentary about the afro uruguayan community that lives in Buenos Aires, Argentina.

Musical documentary based on the stories of four women who studied to become nurses in the school of the Fundación Eva Perón in 1948, which was one of the institutions that helped pave the way for change for women in Argentina. The testimonies from the protagonists are reenacted in the form of a musical, in a film that combines archival footage and choreography.

The work and thought of Mauricio Kartun, in a journey that takes as its temporal axis the staging of his play Salomé de chacra. His work, his obsessions, and his personal method.