Raúl Perrone

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

The cynical philosophers lived in Ancient Greece. Its name comes from the word "dog", denomination attributed by its frugal way of living. They considered that civilization was an evil and so they despised riches and repudiated sciences, norms, and conventions.

It is the history of a group of boys around twenty years old of the suburban district. They stroll for the quarter, look at videos, listen to rock. Nothing happens, but it goes on from everything and they are basically alone in the world. As well as there is another "American dream", there is another “Argentine dream”

Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

The cynical philosophers lived in Ancient Greece. Its name comes from the word "dog", denomination attributed by its frugal way of living. They considered that civilization was an evil and so they despised riches and repudiated sciences, norms, and conventions.

The cynical philosophers lived in Ancient Greece. Its name comes from the word "dog", denomination attributed by its frugal way of living. They considered that civilization was an evil and so they despised riches and repudiated sciences, norms, and conventions.

It is the history of a group of boys around twenty years old of the suburban district. They stroll for the quarter, look at videos, listen to rock. Nothing happens, but it goes on from everything and they are basically alone in the world. As well as there is another "American dream", there is another “Argentine dream”

It is the history of a group of boys around twenty years old of the suburban district. They stroll for the quarter, look at videos, listen to rock. Nothing happens, but it goes on from everything and they are basically alone in the world. As well as there is another "American dream", there is another “Argentine dream”

Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

“Some time ago, I decided to stop writing synopses of my films. I want people to come without knowing what they are going to see. There will be no trailer either; they are deceitful and never truly reflect the spirit of the film. Thank you for your understanding.” -Raúl Perrone

Apocryphal documentary about a supposed visit by James Dean to film a movie in Ituzaingó, a suburban town in Argentina near Buenos Aires.

Apocryphal documentary about a supposed visit by James Dean to film a movie in Ituzaingó, a suburban town in Argentina near Buenos Aires.

Pedro, the father of the family, overcome with wine, embarks on futile ventures. María, the mother, transformed into an apple farmer, can barely bear her burden. Her teenage children, Bebo and Sole, have the destiny of suburban youth, between mischief and tragedy.

Pedro, the father of the family, overcome with wine, embarks on futile ventures. María, the mother, transformed into an apple farmer, can barely bear her burden. Her teenage children, Bebo and Sole, have the destiny of suburban youth, between mischief and tragedy.

I decided a long time ago not to do any more synopses of my films. I want people to arrive without knowing what they are going to watch. There won't be a trailer either – they're liars AND they never really reflect the spirit of the film. Thanks for understanding.

I decided a long time ago not to do any more synopses of my films. I want people to arrive without knowing what they are going to watch. There won't be a trailer either – they're liars AND they never really reflect the spirit of the film. Thanks for understanding.

I decided a long time ago not to do any more synopses of my films. I want people to arrive without knowing what they are going to watch. There won't be a trailer either – they're liars AND they never really reflect the spirit of the film. Thanks for understanding.

Some time ago, I decided not to make any more synopsis of my films. I want people to arrive without knowing what they are going to see. There won't be a trailer either; they lie and never really reflect the spirit of the film. Thank you for understanding. RP

Some time ago, I decided not to make any more synopsis of my films. I want people to arrive without knowing what they are going to see. There won't be a trailer either; they lie and never really reflect the spirit of the film. Thank you for understanding. RP

Some time ago, I decided not to make any more synopsis of my films. I want people to arrive without knowing what they are going to see. There won't be a trailer either; they lie and never really reflect the spirit of the film. Thank you for understanding. RP

A portrait of five young workers from Ituzaingó during their summer vacation. The country's structural violence hangs like a dark cloud over them, and the sale of cocaine is a way to cope with the lack of employment and future prospects that have reduced their lives to mere survival. We see them mainly in a public park where they can play sports, listen to live music, or just hang out.

A portrait of five young workers from Ituzaingó during their summer vacation. The country's structural violence hangs like a dark cloud over them, and the sale of cocaine is a way to cope with the lack of employment and future prospects that have reduced their lives to mere survival. We see them mainly in a public park where they can play sports, listen to live music, or just hang out.

A film about Donatien Alphonse François de Sade by Raul Perrone

A film-maker in a poor town in Argentina is working on a film which is split into three chapters in the tradition of jidaigeki, the old Japanese swordfight films. In the first part, a samurai murders the son of a brothel owner and the father swears revenge. In the second, a woman loves a benevolent samurai but is forced to become the lover of a rogue. And in the last chapter, a samurai returns from war and doesn't recognize his wife any more. All this happens in an enchanted world of haunting beauty, underscored with snatches of Cumbia rhythms, string motifs by Samuel Barber and melodies by Chet Baker. Samuray-s is a cinematic adventure.

A film-maker in a poor town in Argentina is working on a film which is split into three chapters in the tradition of jidaigeki, the old Japanese swordfight films. In the first part, a samurai murders the son of a brothel owner and the father swears revenge. In the second, a woman loves a benevolent samurai but is forced to become the lover of a rogue. And in the last chapter, a samurai returns from war and doesn't recognize his wife any more. All this happens in an enchanted world of haunting beauty, underscored with snatches of Cumbia rhythms, string motifs by Samuel Barber and melodies by Chet Baker. Samuray-s is a cinematic adventure.

Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

A trip of three friends to San Bernardo.

An enchanted and dangerous jungle. A woman and her husband. A young boy and a teenaged girl who look like brother and sister. Another girl and two men from another time. Gunshots. An escape. A cascade and a storm. Love. Passion. Death.

An enchanted and dangerous jungle. A woman and her husband. A young boy and a teenaged girl who look like brother and sister. Another girl and two men from another time. Gunshots. An escape. A cascade and a storm. Love. Passion. Death.

An experimental feature shot mostly in the style of an old silent film, it tells the story of a jealous love triangle.

An experimental feature shot mostly in the style of an old silent film, it tells the story of a jealous love triangle.

Luján was a construction worker. He had fourteen children, some of whom he no longer remembers the name of. It is separate. A neighbor, Liliana, gives him a house and food, in exchange for work. One of his children claims him, but he does not want to return, because he is no longer even half of what he was.

Luján was a construction worker. He had fourteen children, some of whom he no longer remembers the name of. It is separate. A neighbor, Liliana, gives him a house and food, in exchange for work. One of his children claims him, but he does not want to return, because he is no longer even half of what he was.

Julia is a hairdresser, owner of a remisería, who goes out on a Sunday picnic with her family. The day does not propose anything different from her predictable daily life: the husband protests, the teenage daughter reads dance magazines and the son will be absent.