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Gastón Solnicki: Familiar Territories

MUBI Special

We’re delighted to present two works by festival favourite, uniquely talented Argentine filmmaker Gastón Solnicki, that are more intimately linked than their disparate formal languages suggest at first sight. Both the ten-year-in-the-making, domestic family portrait Papirosen and the exquisitely shot Kékszakállú (named as one of the Best Undistributed Films of 2016 by Film Comment and IndieWire) are built around Solnicki’s striking fascination with the quotidian, the territories of the familiar and familial and his bracing experimentation with non-fiction techniques.

Papirosen

Gastón Solnicki Argentina, 2011

An inquiry into the pervasive memory of World War II and its many effects on Jewish identity, Papirosen finds the uniquely talented Gastón Solnicki avoiding the usual faults of self-portraits. The result is a graceful consideration of post-war Jewish identity and the collective memory of a family.

Kékszakállú

Gastón Solnicki Argentina, 2016

Its title may be impossible to remember, but its images are impossible to forget. Gastón Solnicki’s third feature boasts a magnetic, drifting beauty as it navigates privilege in an exquisite choreography of bodies and spaces that feels at once meticulously orchestrated and remarkably alive.

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