Albertina Carri

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

No synopsis available yet.

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper middle class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper middle class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

An introspection and a poetic about who we wanted to be and who we have been, crossed with the reality of what we are and with the utopia of what we will be. A mosaic composed from the creative and aesthetic freedom of each of the filmmakers who participate in this setting.

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

Aurora lives in the daily mix of furniture, norms and rules inherited from her parents from the 70s. A short film with still pictures and narration.

No synopsis available yet.

The arrival of the Russian State Circus in Argentina in 1966 was an unprecedented event. For the first time, Soviet artists crossed the Iron Curtain into Latin America. Their art was unsurpassed, until in the 1990s, with the perestroika and the Soviet collapse, the circus also disappeared.

No synopsis available yet.

A series of five short films made by five outstanding film directors that narrate in the first person their creative processes, their environment and their experience of 2020 and the pandemic. Ways of creating, territory, memory and autobiography in works where they propose us to look into the world of today. Her immediate and urgent look at the year the pandemic changed our lives.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

Thirteen short films directed by thirteen directors, based on the recitals of Argentino en Vivo 2.

According to its director Albertina Carri, this is a “porno-terrorist political manifesto.” Made from archival images, mostly pornography dating from the 1920s to the 1970s, 'Pets' is a reflection on images and early pornography. Cinema and pornography could share a basic definition: they generate images that persist in the retina and create their own universes. Abject, clandestine, anonymous; what scenes, what fantasies did the camera obscura—the beginning of cinema, the precondition for porn—record in the early days?