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#VENICE79 | Argentina, 1985
It is convenient, right off the start, to frame Argentina, 1985 as one of those works whose form and substance ...
#SHEFFIELD2021 | Sheffield diaries, Entry 0
June 3rd How did I come to Sheffield? Actually, I never got to Sheffield, where from the 4th to the ...
#TIFF21 | Drive My Car
Barely four years ago, almost no one knew of Ryusuke Hamaguchi, director of Drive My Car. Everything started in 2018 ...
#TIFF20 | Pieces of a Woman
THE EMPTY NEST It could be affirmed that Pieces of a Woman is on the way to becoming instantly (at ...
#BERLINALE2020 | The Intruder
A FULFILLED PROMISE As we mentioned in “Beyond Oblivion: A critical history of argentine fantastic cinema” (*), in our classic ...
#CANNES72 | Diego Maradona
At the end of Rocky IV, the Italian stallion would put the Russians in his pocket and they would cheer ...
#CANNES72 | Cannes by Ganzo (1) | Pain and Glory
The first thing that surprises about Pain and Glory is its apparent simplicity. After a series of films in which ...
La flor
FOURTEEN HOURS DON’T MAKE A RIVER In Escape and Other Essays, César Aira includes one essay on Salvador Dalí where ...
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