Fernando E. Solanas

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An impassioned three-part documentary of the liberation struggle waged throughout Latin America, using Argentina as a historical example of the imperialist exploitation of the continent. Part I: Neo-Colonialism and Violence is a historical, geographic, and economic analysis of Argentina. Part II: An Act For Liberation examines the ten-year reign of Juan Perón (1945-55) and the activities of the Peronist movement after his fall from power. Part III: Violence and Liberation studies the role of violence in the national liberation process and constitutes a call for action.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world's most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina's road to ruin.

Documentary in four parts on Latin American cinema. Third episode: from the 1960s, France and Europe showed a real enthusiasm for Latin American cinema, but the latter remained hampered by numerous economic and political obstacles.

In 1971, during the Spain of the last Franco, Solanas and Getino frequented Juan Perón's residence in Puerta de Hierro to film - secretly - two long documentaries with the former president. They were six months of travel between Madrid and Rome, where the montage was made, hiding the negatives that were filmed and avoiding López Rega's claim to take possession of them. In the summer of 2012, Solanas began filming The Legacy in the residence that Perón and Evita built in San Vicente in 1947. During three years the film was being put together and at the same time photographic archives and documents were investigated. For the first time, fragments of unpublished recordings of the informal conversations that Solanas and Getino had with Perón are used.

Debtocracy seeks the causes of the Greek debt crisis and proposes solutions sidelined by the government and the dominant media. It follows countries like Ecuador that created debt Audit Commissions and tracks this process in Greece.

The history of the Argentine railways, from 1857 until the crisis of the current transport system. The closing of branches of the railway lines turned towns whose main source of work was the train into ghost towns. The privatization of the lines caused the dismissal of tens of thousands of workers as well as the deterioration of public service, causing in turn the increase of motor transport and the multiplication of automobile accidents.

A bourgeois family reluctantly watches a home documentary about the horrors of the Second World War.

Documentary in four parts on Latin American cinema. Second episode, evoking the border between fiction and documentary. With his film Tire dié (1960), the Argentinian Fernando Birri proposed this manifesto: to create a realistic and critical national cinema, closer to society without falling into populism.

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Fifty intense minutes for the viewer to review the history of the company and the political, social and economic consequences that the bankruptcy and the various scams carried out by Vicentin have had and still have in the lives of thousands of Argentines and Argentines and in the fabric of the national economy.

An extensive interview with Fernando Solanas and an important amount of unpublished material, the documentary describes the process of making the most influential film of Latin American cinema. It was done exclusively to accompany its home release.

Tribute documentary on the relationship between music and image in the cinema, as a constitutive part of it, with great musical moments in Argentine films together with the words of those who compose and direct.

Until the 1970s, Italian cinema dominated the international scene, even competing with Hollywood. Then, in just a few years, came its rapid decline, the flight of our greatest producers, a crisis among the best writer-directors, the collapse of production. But what are the true causes and circumstances of this decline? In an attempt to provide an answer to this question, Di Me Cosa Ne Sai strives to depict this great cultural change. Begun as a loving examination of Italian cinema, the film transformed into a docu-drama that alternates between interviews with the great names of the past and fragments of cultural and political life of the last 30 years. It is a travel diary that shows Italy from north to south, through movie theatres; television-addicted kids; Berlusconi and Fellini; shopping centers; TV news editors; stories of impassioned film exhibitors and directors who fight for their films; and interviews with itinerant projectionists and great European directors.

Buenos Aires at the end of the millennium a young filmmaker hopeless about their future decides to film his last act.

Documantary film on the dispute for the hegemony of the Latin American continent between conservative forces and popular movements.

In the midst of a profound economic, political, and social crisis, in April 1982, the armed forces led by the then de facto president, the alcoholic General Leopoldo Galtieri, launched the reconquest of the Falkland Islands. This marked the beginning of a military adventure in the South Atlantic against a world power that laid bare the errors and horrors of the Argentine military regime. This documentary depicts the final act of a bloody dictatorship.

What does Che Guevara"s mythic presence represent to people at the turn of the century, and how do people define their concept of utopia?

A black cloud brings 1600 days of rain to Buenos Aires, while traffic and pedestrians move backwards. Aging actor Max (Eduardo Pavlovsky) runs the Mirror Theater in a former fish market, but lack of funding means a possible demolition. Max is attracted to Brazilian dancer Fulo (Angela Correa), who worries about her daughter back home. Amid political corruption and police brutality, Max's elderly colleague Enrique leads a protest for unpaid old-age pensions. The pensioners succeed in their demands, only to learn from a government official that no money is available to pay them.

Solanas en filmación is an unpublished documentary about the cinematographic direction work of Fernando “Pino” Solanas during the shooting of the movie El viaje.

Last homage to the great director Fernando Solanas, dear to our hearts, who came multiple times in Competition to the Festival and two times to Cannes Classics. Through this documentary rich in sensibility and visual flair aided by stunning graphics, “Pino” Solanas evokes creation.

Félix Monti is synonymous with cinematography in Argentina. From his early steps in the legendary San Miguel studios to his recent work in large-scale Argentine film productions, Chango has never stopped working. Directors Alejandra Martín and Paola Rizzi, also colleagues of his, chose not to shoot a motionless documentary and filled it with vitality –the same vitality the experienced cinematographer moves around with in every shoot or stage he sets foot in.

Three boys from very different backgrounds who have just finished their military service must face the complex social reality of Argentina.

Documentary about the independence and history of Latin America.

Director Octavio Getino is exiled in Lima. Through letters, archive footage and the protagonist’s voice, the feel tells of the director’s vast life experience in an in-depth study where the biographical outline is offered as a footnote to recent Argentine history.