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New Argentine Cinema

Especial de MUBI

We’re thrilled to unveil one of our summer surprises, a wonderfully unruly season dedicated to the B-side of the so-called New Argentine Cinema. In the context of an unprecedented cinematic renovation lead by the groundbreaking work of now internationally revered auteurs such as Lisandro Alonso, Lucrecia Martel or Martin Rejtman, a group of young, extremely talented and fiercely independent filmmakers joined the revolution and took things even further by setting up their own new rules. Mostly part of El Pampero Cine, what has been described as Argentina’s most rebellious production company, these combatants reject the industrial infrastructure and embrace experimentation by pushing boundaries almost in every aspect of the moviemaking process, from funding to production to exhibition. Here’s a collection of fascinating, uncompromising, and utterly original films that defy all expectations, redefine “low-budget cinema”, and are certainly “100% Made in Argentina”.

Damiana Kryygi

Alejandro Fernández Mouján Argentina, 2015

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We close our New Argentine Cinema series with a work at once apart from the films which precede it while also sharing similar political ambitions. This polemic on colonialism and its many victims honors the titular Damiana Kryygi, a young girl who suffered a tragic fate at the hands of settlers.

Juana a los 12

Martín Shanly Argentina, 2014

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Versión desafiante y no sentimental sobre la mayoría de edad, la obra debut de Martín Shanly arroja luz sobre las muchas complicaciones que nos esperan a las puertas de la adolescencia. Al igual que con el resto de la Nueva Ola Argentina, ha sido concebida sintiendo un verdadero éxtasis por el cine.

Ostende

Laura Citarella Argentina, 2011

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Our close-up on New Argentine Cinema continues with Laura Citarella’s debut, also produced by Mariano Llinás. Set in a vacation destination emblematic since the early 20th century, Ostende is both a delightful observational comedy and a minimalistic detective story of Hitchcockian undertones.

El escarabajo de Oro

Alejo Moguillansky, Fia-Stina Sandlund Argentina, 2014

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Our final film by Moguillansky—co-editing with Mariano Llinás, co-directing with Fia-Stina Sandlund, and writing with both!—leaps from The Parrot’s take on documentary-making into an even more undefinable mixture of genres, connecting moviemaking to treasure hunting, national history and politics.

El loro y el cisne

Alejo Moguillansky Argentina, 2013

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Moguillansky’s next feature after Castro (between which he edited a film by the great Matías Piñeiro), continues the director’s surprises, wittiness, and cheerfully off-kilter filmmaking approach willing to take risks and make jokes. Dance, love, a film within a film—this one knows few boundaries.

Castro

Alejo Moguillansky Argentina, 2009

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Next in our focus on New Argentine cinema we turn to director Alejo Moguillansky, also part of the El Pampero Cine company and who edited Extraordinary Stories. This, his second film, is a frenetic, existentialist action movie shot with lean agility and an eye for the absurd. A true fleet pleasure.

Historias extraordinarias

Mariano Llinás Argentina, 2008

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We follow up Llinas’ terrific debut with the film that made him an international cinema hero. Clocking at 4 hours, Extraordinary Stories is an unashamedly overwhelming cinematic phenomenon, a strange artifact that brilliantly entwines myriads of narratives and a glorious celebration of storytelling.

Balnearios

Mariano Llinás Argentina, 2002

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We’re thrilled to launch a series dedicated to the New Argentine Cinema. If the country’s festival presence is so prominent, it’s largely due to El Pampero, a group of rebellious, innovative filmmakers that have redefined low-budget cinema. This gem, full of irony and humor, inaugurates their work.

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