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FRANCE - Toulouse - Pilot's remark from the 11 to March 20  

Author: Bazely Solange

Although this XVIIème edition was focused on Brazil, the Argentinian films are more than present!

Each day, I made you share of Argentinian films seen the day before...

Here the Prize list of the XVIIème Meetings of thecinema-latinoaméricain of Toulouse which took place from the 11 to March 20, 2005 for Argentinian films

Great Price Blow of Heart of the 17èmes Meetings:

Special mention for:
MOW MANTENIDAS SIN SUEÑO of Vera FOGWILL and Martín DESALVO (Argentinian - 2005)
"a film fragile and moving which strikes by its fulgurances and its freedom by tone"

The Jury was composed of:

Júlio Bressane (Realizer, Brazil - President of the jury), Jorge Arriagada (Type-setter, Chile),
Joel Cano (Realizer, Cuba), Isabelle Huige (ARTE, France), Matías Mosteirin (Producing, Argentinian)


Price Discovered of French Criticism:

PARAPALOS of Ana POLIAK (Argentinian - 2004)

The Jury was composed of:

Julio Antonio Feo Zarandieta (Radio International France), Pierre Murat (Télérama),
And Marina Lorenzo (School of Journalism of Toulouse)


Price FIPRESCI of the first work:

CAMA ADENTRO of Jorge GAGGERO (Argentinian - 2004)

The Jury was composed of:

Maja Bogojevic (Zinec, Serbia-Montenegro), Anette Olsen (Dox Magazine, Mifune, Denmark),
And Karin Wolfs (De Filmkrant, Screen International, Netherlands)


Price SIGNIS of the documentary one:

CABALLOS IN the CIUDAD of Ana GERSHENSON (Argentinian - 2004)

Special mention for documentary film: EL DÍA THATBOMBARDEARON Buenos Aires de Marcelo GOYENECHE (Argentinian - 2004)

The Jury was composed of:

Alberto Arizkorreta Guruzeaga (Spain), Nathalie Roncier (France)and Detlef Ziegert (Germany)


Friday 18:

12h with the ABC: Documentary el dia that bombardearon Buenos Aires de Marcelo Goyeneche - 1h
Dedicated to Marina...

June 16, 1955, the Argentinian military aviation bombarded Put it Rosada, the place of May and the presidential residence, killing approximately 300 civil and by wounding more than one thousand, while wanting to kill Perón... This fact occultedby all the successive governments is evoked by the soldiers only in term of heroism... Handing-over per hour of the pendulums and return to the sources of violence of the State.
Fateful date, which with more than 100 bombs and mitraillement of crowd, it acts one day without precedent, apart from one period of war.
With images of files, testimonys of journalists but of direct witnesses also, there is evil to believe that this massacre the innocent ones is recognized by no government, whereas there remained the fact about it that churches had been calcined. No investigation was made at the time and Perón, in a speech, encourageswith even more violence in counterpart. Hallucinating!
Among those which took part, one finds Emilio Massera which willwork with the ESMA during the last dictatorship.
This denied fact, occulted just like the repression of 1976 whennone the persons in charge neither was considered nor condemned in spite of the images destroyed bodies, calcined, scattered prevents thefamilies from making a mourning, to be recognized as victims. Only a book exists ("the massacre of the place of May of G Chavés and this essential film.

13h50 with Cineclub A short-measuring Caito followed of Cielo azul, cielo negro of Paula de Luque - 1h35

As much short-measuring was surprising in the good direction, with a beginning which could have predicted one nothing egoicentrism and which gradually, K tells us in all decency and softness the reality of a brother handicapped like a homage, as much the feature film carried out by a contemporary choreographer has escaped me. In spite of beautiful images, the wire finished by me mislaying more than to lead me... To see for the curious onesabout new forms and not inevitably to seek a precise direction.

15h50 with Cineclub A Emptied It idiot Perón of Sergio Bellotti - 1h30
Interesting film but which starts too slowly before the true stake is included/understood. Doors closed with characters often a little excessive, the anxiety and the tension going up are notalways very well controlled. A a little incredible history but why not, of a man whom one kills and whose son formed part of youths peronists and of which the "compañeros" will be useful himself (and killed) for the grime in Pérón, the very same day of its death.


Thursday 17: pauses for my well tired eyes and updated of the late notes...


Wednesday 16:

12h45 with the cineclub B, documentary Grissinópoli, country of the grissinis of Dario Doria - 1h20

This documentary was declared of cultural interest by the secretariat of State of the Argentinian Nation.
Grissinopolis, the factory of Grissini is in bankruptcy. The workers, to save their employment, occupy it and continue toproduce in self-management. The scenario writer films with sympathy and emotion the fights of these people who will be able to find day after day of the forces to engage and not to subject itself in spite of the difficulties and thanks to the assistance of the assemblies and the support of the vicinity. A testimony of the current fights of the Argentinian workers.
After the manufacturing process of the grissinis, we follow those which occupy the factory in long discussions, removed, to agree,to make the good decisions, to stain, despite everything to be in legality and to even obtain to change the law of bankruptcies of the companies, either in favour of the private property but to preserve the law the labour above all. The children also mobilize themselves.
With the vote of the law, they shout: Unit of all the workers and that with which that did not plait, one it emmerde, one it emmerde .
A victory to continue the fight in all legality but not without difficulties.

14h10 with the cineclub B, Documentary Those of Saladillo d' Alberto Yaccelini, Argentinian realizer of Paris, like it says - 1h30

The music is of Pablo Nemirovsky with Alfonso Pacin.

16h20 with the ABC Parapalos d' Ana Poliak - 1h33 with Adrián Suarez, Nancy Torres, Chappay Castling. Coécrit with Santiago Loza which one awaits impatiently the second feature film "4 mujeres descalzas" after promising Extraño in 2003.

The director presents its second feature film which it regardsas a being which must go to the meeting of other beings, the public, and which it speaks about itself...
I acknowledge that the film has escaped me and that unfortunately I could not meet it to ask him for some explanations...

Between fiction and documentary, Ana Poliak involves us in the world of Adrian, provincial recently arrived to Buenos Aires with his/her cousin Nancy and who becomes employed in a manual bowlingas renvoyor of balls and the world of those which live other side. Many fixed plans but apparently without direction, any dramatization, one really wonder where she wanted to take us along. Tedious thus.

20h with the ABC Cama adentro (in residence) of Jorge Gaggero - 1h25. Film in competition with the actors Normalized Aleandro, Norma Argentina, Marcos Mundstock

For 28 years, Dora has been the assistance-housewife andscapegoat of Beba, an easy middle-class woman of Buenos Aires. But after the débacle financial Argentina, Beba is obliged to sell cosmetic products of door with door and has not paid any more Dora for 7 months. This one in spite of its impassibility, decides to leave to live its life.
Continuous Beba of drinking, to see his/her friends but is neveracknowledged at the edge of chaos.
Of these two worlds which are not touched, the practices of the one and other are well anchored: one to continue of cheek the comedy of the surface middle-class woman in spite of the forfeiture which approaches and the other, cleans even when it is not any more its role. Beba, in spite of what it is allowed to say to Dora, resigned, needs it. No marks of real affection, always on the alert between its two wives whom 28 years of intimacy connect nevertheless beyond appearances. Finally, Beba with end but keeping its worthy aspect comes to settle at Dora without preventing it, by putting it in front of the accomplished fact. What will they become?
A beautiful number of actresses in this pleasant dramatic comedy.


Tuesday 15:

With 12h with the ABC: Excel documentary Oro Nazi in Argentina de Rolo Pereyra - 1h23 with images of files and reconstitutions filmed very well, arranged and with accompanying notes. In spite of the complexityof the subject, the film leads us on ways documented extremely well thanks to ten years of investigation and despite everything what was flaring

Documentary in the form of spy film which romp with silence: the Nazis were protected by controlling Argentinian at the time of the rise of the Nazism, but also after their defeat and much of them found refuge in this country. They did not have theempty hands, and this refuge was not free. The advised councils of these people were made profitable as one knows by the various dictatorships.

The arrival of the Nazis and the war criminals in this end of the mythical world in the south of Argentina east for some the fruit of imagination but for others were possible thanks to the always unpunished economic interests!
In this investigation deepened with evidence and testimonys, we penetrate in an unimaginable network of plot. From this zone of shade was born the investigation, in particular that of Jorge Camarasa.
We thus follow the road of the money while holding account of the reality of the country 60 years ago.
One of the ministers of Hitler was Argentinian: Walter Darré. The basic transfers were used first of all propaganda Nazi in Argentina, to Nazis who acted as any impunity, with falsifications of passports and illegal documents. Espionage Nazi is increasingly important and the German companies in Argentina are used as source of reinvestment, then directly dependent on the Chancellery of IIIème Reich. The businesses do not have nationality and Argentinian oligarchy fricote with the German companies in a carnal and very active relation. The Allies answer by an important boycott.
The naval service of Argentina is related to the S.S Nazis and Germany centralizes the traffic of weapons.
Hellmuth (double agent) is then made stop by English with documents more than compromising for a country is saying "neutral" like says being Argentina and asks him to cease the relations.
Another key character is Ludwig Freunde, true nonofficial ambassador of the mode Nazi in Argentina, owners of two large German banks by which gold Nazi returned. Millionaire, philanthropist and financier, it approaches Perón at the time when its popularity increases thanks to Evita, resulting from the low social classes. Freunde enters the intimacy of Peron and his/her son, Rodolfo, become the secretary of Perón and will accompany Evita in his famous voyage in Europe.
Argentina declares the war only a few weeks before the fall of Berlin. The compromising documents disappear but Ludwig is compromised so much that it is marked. Peron will save it nevertheless extradition. In its turn, Peron is put in prison very little time and takes refuge in the house of Freunde. The workers require the immediate release of Perón.

Officially, only two submarines went in the south whereas all proves that very many officers and spoils arrived on the beaches of the South. This film brings the evidence which denounces the participation of the Swiss banks and the Vatican and the eyes closed of the United States.
Based on the book Odessa Al On journalist Jorge Camarasa, also Co-scenario writer, the film grows rich by the participation of researchers of international fame like Jean Ziegler, Beatriz Gurevich and Uki Oñi.

The Swiss national bank becomes the true receiver of the system Nazi where gold Nazi is remelted with the Swiss cross. Fidneler,specialist in the falsification of papers and the signatures will be finally expelled of the SS, dirty imprudent enchanter who, with the complicity of the Church and of the Vatican, will allow a number of war criminals to exile itself in Argentina, among them Eichman which sent 6 million Jews to the death, Helmut Gregor which made atrocious experiments on the children, Eric Priebke says Otto Pape (responsible for the massacre deu ditch adriatica), Von Bluchner which had buried spoils in its garden which will be then dispatched in Argentina or Manguelé on order of Freunde without no Argentinian intervening nor does not oppose.
The country is plundered until in its memory and it is certainlynot only.

The music is of Manolo Juarez. The realizer is deceased there is little.
To know some more, in Spanish:

With 14h55 with the Cineclub B, documentary Oscar of Sérgio Morkin 1h01
Special mention for this documentary really very interesting and not Manichean.
One accompanies Oscar Brahim, a true militant of the art which drives its taxi and refuses to undergo the publicity which attacks it with length of life. In its moments without customer, it leaves his trunk the necessary one to transform the street: joining andpainting help it to resist, defend its freedom and to create. The economic situation worsening, it suffers in its life personal and artistic but does not disarm, on the contrary.
He is an urban artist, eccentric which denounces the abuses while misusing in its turn, while diverting and playing with the images which cheat and abrutissent. He only goes there or accompanied by her son or his wife, her daughter having rather shame and those which look at surprised, are intrigued or shocked. At his place, the small apartment is encumbered of posters, joinings, materials in any kind. The city is polluted of aggressive posters which it diverts then photography. The recognition of Oscar comes when one asks him to intervene in during architecture at the University but better still when an advertising executive (Ramiro Agulla) tries to buy it to work for them. In spite of the temptation of the money which misses, Oscar does not betray which it is.
His/her son has an accident and it continues to fight for freedom despite everything.
It is thus taken with serious by those against which it fights, at the same time as it does not live any. It is invited by a philosopher for whom the city is a visual territory. It leaves its work by love of its art, fall sick must leave its house, his wife not always of agreement with him supports despite everything. Itdoes not want to be accustomed, to feel anaesthetized as the offended middle class. The rent must be paid: it manufactures counterfeit bills which it sticks on the door, like a wink. Theyleave the apartment but never apitoient themselves on their fate. We will not know what it occurs of Brahim Oscar but I then to ensure you that I would seek in Buenos Aires if Oscar still struck. I hope!
One can see Lita Stantic or Diana Saiegh in the thanks with the credits.

With 16h50 with the Cineclub: B (corta) of David Bisbano 1h14

Definitely it is a good day with beautiful artistic surprises. The realizer is present, currently finishing its second feature film. This one is its first, very promising.

When the memories of childhood are lost with the profit of fantastic between two friends, Facundo and Matias become adolescent. Facundo is insane clouds (and of kite in childhood) which pass in accelerated, it takes drugs. They launch out challenges, to descend an inclined street by closing the eyes in spite of circulation. The skate, board with casters is very present with the music of rock'n'roll à.fond. Matias knows the gravity of the things but seeks it, although it is continued by traffickers (of which one has an enormous black tattooing of the cheek to the arm) with which Facundo must of the money. Environment, plans worrying. They will fly away together by the roof that Facundo never left all along the search of Matias. This very black film (and very beautiful black and white and shades and lights) has the depth of the tales on the friendship and worrying it about fantastic Latin-American with a way of filming voluntarily shifted, distressing,playing enormously of the shades (cargouilles) and the light, between dream and nightmare with the figure of small girl MUSE. Scenariowriter to be followed...

With 20h with the ABC:

Short-measuring the Gospel of the creole pig of Michelange Quay - Haiti - 13' with a music of Julien Loureau.

Conversaciones idiot Mamá of Santiago Carlos Oves - 1h30 with Clouded Zorrila, Eduardo Blanco and Ulises Dumont.

One funny and slackened moment for this fiction which received very many prices (Montreal, Los Angeles, Moscow...) and which holds ona scenario and the interpretation of the 3 principal protagonists. Really pleasant, if it is not an end drawn a little by the hair.Delicious dialogues and actors.

Jaime dialogues with his/her eighty two year old mother. With its humour, its losses of memory and its experiment of the life, it is it which ends up imposing its views: she refuses to leave the apartment which the son must sell because he needs money. She surprises it, teaches him that she met a man, Gregorio, 69 years, anarchi-pensioner with whom she makes eat. The son, pulled about between his failing economic situation, his children who differently appear than as it imagined (his daughter wants to become actress, his son dancer of tango) and the ceaseless tears between his/her mother and his wife and her mother-in-law, manages to be movedby this mother if attaching.
Fine and tasty comedy, anthem with tenderness, admirably been useful by very funny dialogues and a large actress, Clouded Zorrilla. A good moment of comedy.

For the music, one can appreciate the presence of the pianist Cristian Zarate and Pablo Agri to the violin.

When I leave, it is already 22h05 and I do not have time to go to see the vieja of Julio Midú and Fabio Junco which has started already for 20 minutes.


Monday 14

Less than fifteen people in the room. Or I choosethe least followed films or there is indeed a weaker frequentation than the last year.

Short-measuring El heredero (the heir) - 27 min - 2002 of Julio Midú and Fabio Junco withthe inhabitants of Saladillo. Dedicated to Lalo.

A young man who has just lost his father refuses to be serene. The scene mère/fils makes readable the tensions, with a flash-back not excessively welcome. The father connected books, had of it the passion and the use of guard of the public library. The son ends up taming this new employment, even by reading, preserving as his/her father did it the treasures of the knowledge. The flash-back and the drama mix in the way in which died his/her father, victim of young people in mare and highly-strung person.
In the form, one finds the same actors, the pleasure of an oftenoutrageous and sometimes tasty dramaturgy in this company which it isnecessary to give in its context to appreciate contours of them too. Two young people of Saladillo with 80 kms of Buenos Aires and without any means film serials, sometimes romantic, sometimes police, here mixing both.

Gema de Julio Midú and Fabio Junco with the inhabitants of Saladillo

A woman returns in her native village to re-examine herparents who left the countryside where they lived for a precarious house downtown. The woman will try to convince them to sell their good in the countryside in spite of their strong reserves "el campo No is sold". But the father, taxi driver (given) dies accidentally. She discovers then thanks to her mother who delivers the truth only with the dropper and with several bounces: his/her father was not his father and killed his true father, reported missing at the time of the floods of 1960. The alternate film with a flash-back with visions of the true father and the investigation of the 40 year old girl, near the twin sister ofRomulo Galvés, his/her father who called it Gema. The flash-back, the photographs hidden in the furnace then burned, the surjeu make some a little too much for these films of Saladillo which, in spite of their defects have the merit to exist "has pulmon" thanks to two young realizers and scenario writer, also actors who animate this city thanks to their serials made without any means. Cheer for the initiative thus and this, in spite of awkwardnesses.

16h15 with the ABC: Uruguyan Short-measuring Bregman (the following) of 13' of Federico Vieroj

On his couch of psychiatrist, the father of Bregman fell asleep. It is the day of the bar-mitvah of his/her Rafael son 13 years.
On bottom of music klezmer, wink of the actor Daniel Hendler whois among the guests. After the religious ceremony with the Rabbiand the festival another initiation awaits it, with an Injury paid by the family for the déniaiser...

follow-up of Una of back (a chance on two) of Alejo Hernan Taube with Jorge Sesán, Jimena Anganuzzi, Renata Aielo

December 2001, the collapse of a whole nation, sight and lived by the inhabitants of a small forgotten city located at 80 kms of Buenos Aires and where the train has not passed already any more for 10 years. An account of a middle class disaster victim,young adults without hope and confidence, obliged to manage, soak in equivocal jobs. Is the vision on several occasions of a cyclist who continues his drive despite everything a vision of hope? Theappropriations are not possible any more with the grocer, the pharmacist takes drugs with her drugs, people of the village have fun the festival in the form of a piquetero to protest without obstructing anybody however. A form of nonchalance emerges from this passive suffering or without wayfrom action undoubtedly. Some protest, claim a solidarity, others are folded up, egoistic and individualistic.
One of them soaked in a traffic, has a little more money, is envied women, is jalousé by the men and nobody can believe, except that which refuses to be his/her girl friend, that it is really guilty. It will save ambush while running, running but for how long still and where it will go...

18h: Documentary: Caballos in the ciudad of Ana Gershenson - 2004 - 1h20

The pick-ups of paperboards, of glass have carrioles drawn by horses and circulate in the city, normally on a fixed way, with the research of the raw material which enables them to survive. They are rather merry, hard workers, but the relationships to the authority are rather muscular. More especially as they do not understand that the barouches and the assembled police force are accepted and not them which clean a part of the city. They do not want to see misery in Argentina says one of them.
Many are the children who take part in it, sometimes even without adult. And yet, in the street, all is possible!
Their single source of work is this one, also are attached to their mounting. The mares seem more enduring that the males, it is as for us, known as a man, my wife is more resistant than me .
Tables make it possible to pass from a character or a group to the other.
They work with the smile for a difficult work are they seem proud and given, with the risk at every moment to be embarked bythe police force, which do not hesitate with the tabasser sometimes. They expect the evening to pass Puente Alsina together.
The music is of Mariano Zukerfeld. The film is interesting, as much the subject that the characters chosen, perhaps alittle long.

Just at the end of projection, we learn that the director died, little before his film is selected in Toulouse. A debate takes place in another room with another realizer who filmed the cartoneros .

20h in Utopia: Bombon (el perro) of Carlos Sorin - 2004 - 1h37 with Juan Villegas, Walter Donado, Micol Estévez

Juan Villegas, ex garage hand lives in Patagonie and tries to be left there as a manufacturer the handles knives. To thank it for a service, an injury offers to him a white Argentinian mastiff of great race and which apparently mark a new departure in its life. Indeed, it will cause various attentions thanks to the dog and will begin a new life by exposing it in contests. The course is sown obstacles, meetings for this simpleman, originating in the province of Tucuman and basically good. The dog obtains its first price and is very quickly snuffed, in particular to give descent to females, but Bombón proves without libido... After some adventures, the badly lived distance of itsMaster, this one finds it in good company.
The realizer ofHistorias Minimas, always sober and minimalist collects with humour and respect the small things of the life which make the beauty with its attaching characters of it.
We can announce the guitarist Juan Falú on a music of Nicolas Sorin.

Last film of the day: El amor (will precede leaves) 2004 - 1h44 - of Alejandro Fadel, Martín Mauregui, Santiago Mitre and Juan Schnitman with Leonora Balcarce and Luciano Cáceres.
4 realizers for this pleasant, rather funny film although a little long at the beginning.

Why and how Pedro and Sofia they fall in love on the boat which brings back them from Montevideo? When do they start to bea couple? Why will they live together? When do their problems start? When their relation should finish?
A test on the love, imagined and turned by four realizers of a score of year.
We have right, between the fiction, has anatomical drawings describing us "scientifically" the mechanisms of attraction sexual, ofthe thunderbolt, sexuality.
After the first steps, the cohabotation, the sex, the crisis, the discussions, the irritation, the trouble day after day and the désilussion, it is the end of this couple which we will have followedover two years in its characteristic as much as in the phenomenon of identification which will not fail to make you smile.


Sunday 13

The film Proxima Salida - Next exit of Nicolás Tuozzo - 2004 - 1h53
The producer Marcos Negri is present until Wednesday inToulouse.
This film, already left to Argentina, draft of what arrived to the railwaymen lately at unemployment after the closing of kilometers of railways, in the form of fiction, through the vision of the realizer.
In the Eighties, there were 80.000 railwaymen, currently 20.000.What became these 60.000 railwaymen after a life dedicated to the trains?

Five railwaymen of age and character various, all formed in thiscompany where a man has value only by work that it produces, which arefound with unemployment, désoeuvrés, in loss of identity and try to rebuild their life under the glance of their adolescent children themselves ready to try a "last exit", a last "bravado" with the history!

The film starts with an idle under the rain of three children who run towards the camera, image which will return several times, with in voice-off the voice of the one of them, which come from sharp the suicide of his/her father, Angel, which did not support nor not found of another solution to this situation of unemployment and wonders until where can one change the things, true subject of film. The fraternity of this life of the train feels more than one simple livelihood but as a second hearth where share the same passion.We follow the course of some of them: one has attended a meeting of Body Hierbal, to make the tail with tens of others for a small job, the other must pour 400 € to become driver of handing-over,another still becomes sandwich man and refuses to answer his/her friend whore for 30 years, lends to re-examine it without being paid, another is made embark in the handling of weapons, with the fear with the belly but also the desire for offering to his/her son the care which it needs, not having even more Social Security cover.

It acts here of sacrifice, search and loss of dignity in odd jobs where others benefit from idleness from unemployed to embark them in limiting or illegal situations most of the time. The characters to want to leave itself there confront themselves with a sequence of problems. All disaggregates in inextricable situations.

A beautiful scene where the son of Angel re-examines the only railwayman who did not sign its resignation, not played by Ulises Dumont: "this city was born with the train. It is the train which brought us. People believed then in work, with the country. The train left and the country also "
The child asks him why his/her father gave up and did not fight. Was he a coward?

Little by little, at the adventures of the ones and others, alsoarrives the final situation which wants to be full with hope and not with resignation, moving - a little incredible - but which serves the matter: a break-in organized by former railwaymen in a supermarket, with as watchman the young armed father, another who having learned death from the old man and the steering, decides to go to testify with television to the situation, whereas both in the supermarket look it via lit stations. Not badly of improbabilities but... if one is killed, the children manage to make start the engine after having put a streamer: "it is our train" which passes in front of the supermarket and television, with the strong desire to find their identity. This time: "one did not look at our train, one started it".
Let us announce that the music of Sebastian Escofet.

Documentary Los guardianes LED angel of Adrian Lorenzo and Juan Pablo Martinez - 2004 - 1h23

A homage to Anibal Troilo, large bandoneonist and type-setter of tango: testimonys, musical sequences, with the dance of Juan Carlos Copes and Julio Bocca (in a doubtful use unfortunately) and presence of football and Sadaic (Argentinian SACEM).

With testimonys of Raúl Garello, Osvaldo Piró, Horacio To shoe, Tito Reyes (which déclame sometimes touching worms, sometimes excessive), Rubén Juarez, Matias del Pozo, Rodolfo Mederos,Colangelo (ex pianist of Troilo), Ben Molar (the author of the 14 idiot el tango, inter alia), Oscar del Priore (biographer of Troilo), Walter Ríos, Gobello, Acho Manzi (the son of Homero Manzi, friend of Troilo and poet) evoke their friend with the comments and the exceptional voice of Jorge Waisburd.

If the subject interests me particularly, the images of files although not very many is very speaking and shows which was Anibal Troilo, testimonys of personalities of the tango are of interest various: it played the closed eyes, slightly leaned, it could make sound silence, it was the world champion of the good taste ".
A little surface information where besides some tasty anecdotes,the details of the life of Troilo are evoked little with the detrimentof conventions of the character brilliant and loved without evoking its contradictions or the wheels of its life of musician. He wasa large arranger, started in Sexteto de Valdaro and Pugliese and played a long time Viejo Almacen which still exists.
If its passion for football (fan To rivet Punt) is approached, its passion of the whisky is hardly effleurée, as if it were necessary to protect the legend from the man who is not any more.

The beautiful testimonys despite everything, gachés by scenes of dance not always of good taste (even in the training course of foot!) and a discussion thread always welcome step. Damagefor the beautiful music and with this effleuré exceptional course.

Horacio Ferrer greets the beautiful fatalism of this man who into 7 years transformed a typical orchestra into true symphony orchestra and according to him, the inventor of the modernity of the tango, before Piazzolla. This last is hardly evoked whereas it counted so much in the life of that which one always calls with affection "Pichuco".
Without any doubt the service of Ruben Juarez is one of most touching, him which making at 6 years, of the paper bandonions.
The 4 bandonions of Troilo were found in the hands of Raul Garello, Osvaldo Piro, Astor Piazzolla and for the museum of the tango. The two first express with emotion makes it hold and play the instrument of the Master and how that can help them, to move them, as if they allotted particular virtues to them: it remained in my skin, in its way of saying the sentences.... It misses as beautiful images as the music of Troilo.


Saturday 12 Mars

12h25 room 1 of the cineclub:
Eclipse short-measuring of Martin Subira begins the meeting (15 '), dedicated to the 37 died of the riots of December 19, and 20 2001 in Argentina. Financed partly by the government of Cordoba, we pass from the interior of an anxious grandfather who outside observes furious the noisy demonstrations with the reconstitution of the cacerolazos in Buenos Aires. Its grandson undergoes fatal police repression. The riot, the bodies, people vis-a-vis with the police force andthe degeneration of the situation are very well filmed, returned. Contrast between the agitated plans of repression and the fixed plans of the grandfather, agitated and stripped vis-a-vis with the images that him renvoit its television set.
The presidential helicopter of Rua flies away above Casa Rosada,whereas the old man puts himself in front of the pallets of his ventilator and that his/her small son, victim of repression, dies.
The credits of fine show various images of the city, with the very many inscriptions on the walls: That vayan todos, chorros...

The feature film which follows, the mujer rota of 2004 one duration of 1h13, first filmof Sebastian Faena with DolorèsFonzi, Pablo Rago and Juan de Benedicti does not have anything typically Argentinian (too much silence, not enough of life), if they are not its actors.
Separated by chapter, the film continues even after the word Fin. to say As much, that does not finish any.
1. the actress of an empty theatre - 2. Motionless life - 3. Present - 4. The elected official - 5. The guest room - 6. The external world - 7. The feeling of not

I have without any doubt of passing beside the objective of the realizer to put in scene this woman subjected and dependent with a love without return and which is obstinated. It proposes it in victim whereas it seems only one small middle-class woman egocentric person. Even the fans of Dolorès Fonzi, splendid actress will not find their account there. Very large plans on it are not enough to reduce the pompeux dialogues, the stereotypes (the wind, water, the breakdownof car, numbers improbabilities) and interest for this hollow character misses it. The realizer wants it that we take it in victim whereas it is unable to take in hand its life, that it délectein the persistence of its obsession which makes it suffer. Some scenes want to be erotic: Valentine, the friend sacrificed, in love stiff and Camilla in water water then naked shining to the cornerwith fire, the rape under the shower... Torrid stereotypes! Its fixing is useless like undoubtedly my will to remain until the end of a film to be avoided.
Nothing is saved to us poor sound égo. A flash-back without any interest which humiliates it a little more but does not add anything.
A good technical invoice however but which does not catch up with a not controlled scenario and a psychology.
The film finishes on the tears of Dolorès Fonzi which learns death from his/her father, singer of opera become blind, which it willnot have been able to see last once since it was occupied being made violate... Let us pass, other films wait.

And precisely, not prevented short-measuring before this film, Imissed pretty EL CIELITO by Maria Victoria Menis who fortunately will be distributed soon in France.

I turn over to the Cineclub for 16h20 to see the film Lo bueno los otros (what the others have of good) of 2004 one duration of 1h26 of Fabio Junco (which will be there within two days) and Julio Midú with people of the town of Saladillo. This so particular experiment of two young people who decide to turn into to films of fiction with for actors the inhabitants of the city. They is them all the same 14th film thus even if there are awkwardnesses, the result is rather interesting. This particularcinema is made with the means of the edge, but worthy of interest as well in the contents as in this way of working.
The neighbors of the scenario writer play for him since years. They made this film, family drama of alcoholism, and the adolescence of youngest the wire, which has the force to fight againstthe disease of the father and to preserve his vitality despite everything.
With them all, they have a freshness which makes good, they playwell, in this history of sadness ordinary, simple, moving and without excessive pathos, with small very right keys and attaching characters. Awkwardnesses are saved per much on good sides. Highly to see another production and to meet them soon to know some more about this experiment including one documentary was made andwhich I would see later.

The nail of the evening is undoubtedly the projection of film ofHumberto Mauro O descobrimento C Brasil and the concert of the continuations of Lobos Villa writtenin 1937 by the National Orchestra of Capitole of Toulouse to the Market with the grains but, although invited I could not assist to with it.
I finished my evening to dance the tango street Bayard, history to reload the batteries differently, of living the mini-dramas and thepleasures of the dance to the sound of music always such a powerful.


Friday March 11, it is the opening of the festival extremely festive and musical with the Brazilian music with the honor with a very followed procession. Moreover much will not see this night any film but devotes itself to the festival, in the court of the Cineclub but also with the cocktail in Crous.

The Film of opening is an Argentinian film: El Cielito which is the third film of the director Maria Victoria Menis and which profited from the support of the Cinema in Construction and that I would see Saturday March 12.
The large room of the Cineclub is not full, the first ranks are empty, surprising for this official evening with many guests and who starts with 20h45.

For my part, I decided to go to see a little earlier with 20h, the Argentinian film Dirigido por... (Realized by...) of Rodolfo Duran, documentary of 2004 one duration of 1h38, in the not subtitled original version which precisely treats Argentinian realizers and which attracted this evening there only 3 people (of which me)!

Beginning on a music from the Ginastera type-setter, in the formof chapters, the realizers tell and ravel
1 How it managed to make cinema
2. The New Argentinian cinema - the Sixties
3. Censure and how to avoid it
4. Tactics and strategies
5. Actors and realizers: a relation
7. New Argentinian cinema: revenge

This documentary testifies on the cinema and its Argentinian characteristic and is enough interesting even if enough traditional in the form chapters, interfering interviews realizers andextracts of certain films and documents of files. A mine on the subject all the same. Let us regret just the absence of FernandoSolanas.
A sub-chapter on Santa Fé proves that these realizers wish overall to film in residence parce undoubtedly, it to us is what they knowbest. For the remainder, the documentary one returns account beyond the diversity of the opinions and the styles, the difficulties and the complexity of the production process.
The time of the dictatorship is also evoked and is undoubtedly the most interesting chapître on the censure and how to divert it.

Here the list of the interviewed realizers: Jorge Polaco, Martine Suarez, Horacio Almada, Lucretia Martel, Adolfo Aristarain, Eduardo Calcagno, David Kohon, Mario Levin, Edmundo Valladores, Daniel Burman, Anibaldi Salvo, Juan Carlos Arch, Hector Molina, Shine Puenzo, Manuel Antín, Mario Sabato, Raul Perrone, Sergio Bizzio, Carlos Sorin, Paula Hernandez, Israel Adrian Caetano, Ana Katz, Teresa Costantini, Diego Sóffici, Patricia Martin Garcia.


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