Miguel Colombo

An intimate geographic route where the director narrates in first person the story of his grandfather Ludovico, an Italian arrived in Argentina after fighting in World War II. With very few clues begin to map the features of a grandfather he never knew and soon reveals disturbingly contradictory.

A recurring nightmare immerses the filmmaker into a visual research in the first person. Beginning with the 1955 bombing of Buenos Aires, the film elaborates a disturbing essay about violence. Combining a variety of different materials the director follows a line of thought that starts with his grandparents at World Wars I and II, and passes through Vietnam and the atomic weapons, reflecting about the kind of world we make for ourselves and for coming generations.

A recurring nightmare immerses the filmmaker into a visual research in the first person. Beginning with the 1955 bombing of Buenos Aires, the film elaborates a disturbing essay about violence. Combining a variety of different materials the director follows a line of thought that starts with his grandparents at World Wars I and II, and passes through Vietnam and the atomic weapons, reflecting about the kind of world we make for ourselves and for coming generations.

Iván Bilbao has just spent 5 years in prison. Upon his release, he is reunited with his wife Yamila, his daughter Luz, and Chascomùs, his hometown, where his reputation is notorious. Eager to settle down, he resumes boxing and pawnbroking. Pedro Speroni films this chaotic return up close, underscored by tight, uppercut-like editing work.

In an intimate and geographical journey, the director tells in the first person the story of his grandfather Ludovico, an Italian who arrived in Argentina after fighting in World War II and who soon reveals himself disturbingly contradictory. His traces still mark his descendants today, and unraveling his history becomes crucial to assimilate the present. In search of his secrets, the director must go into the desert, face the silences of his own history, redefine his identity and rebuild family ties that have been broken for years.

In an intimate and geographical journey, the director tells in the first person the story of his grandfather Ludovico, an Italian who arrived in Argentina after fighting in World War II and who soon reveals himself disturbingly contradictory. His traces still mark his descendants today, and unraveling his history becomes crucial to assimilate the present. In search of his secrets, the director must go into the desert, face the silences of his own history, redefine his identity and rebuild family ties that have been broken for years.

In an intimate and geographical journey, the director tells in the first person the story of his grandfather Ludovico, an Italian who arrived in Argentina after fighting in World War II and who soon reveals himself disturbingly contradictory. His traces still mark his descendants today, and unraveling his history becomes crucial to assimilate the present. In search of his secrets, the director must go into the desert, face the silences of his own history, redefine his identity and rebuild family ties that have been broken for years.

Portrait of Leónidas Barletta, founder of Teatro del Pueblo, the first independent theatre in Latin America. This film on the controversial theatre director and left wing journalist is constructed from the letters and books Leónidas sent to his young sister María Angélica, godmother of director Miguel Colombo, who decides to leave her brother's legacy in the hands of her godson before she dies.

The documentary Rastrojero, Utopías de la Argentina Potencia (Rastrojero, Utopias of the Power of Argentina) tells the story of Eduardo, who travels in his Rastrojero truck to the same Córdoba that fifty years ago employed him at IME (State Mechanical Industries) and to meet up with his colleagues from that time.