Ignacio Masllorens

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

A story by Mario Levrero and a mythical house in the Paraná Delta (Tigre - Argentina) conspire to shape this film, as two pieces that complement each other but without keeping a total synchronization. The voice-over becomes the common thread of a fantastic surreal story about strange events that occurred in an abandoned house. The action highlighted with the unique presence of insects, shadows, reflections and rain, proposes scenarios for the specific spaces in the story and invites you to recreate the characters and events narrated there.

Two female producers are commissioned to create a short documentary for an exhibition dedicated to Rubén Santantonín, an elusive figure of the Argentine avant-garde who died very young, in the late 1960s. However, the client imposes one unexpected condition: the video must be made together with David Lamelas, Santantonín’s former collaborator and today an internationally recognized figure of conceptual art. At first, the plan seems clear and limited in scope: Lamelas, accompanied by a young film crew, gathers archival materials, documents the few surviving works, and interviews curators and major artists – such as Luis Felipe Noé and Marta Minujín – who, along with Santantonín and Lamelas, peopled the legendary scene at the Instituto Torcuato Di Tella. Lamelas gradually realizes that reconstructing the story of his friend also means confronting a series of gaps and contradictions.

Portrait of the mythical ballerina Iris Scaccheri, made entirely with photographies.

From her encounter with Eva Perón to the death of the icon, from her fascination with the Peronist cause to the persecution she will suffer after the Liberating Revolution, film star Fanny Navarro remembers her life walking today in the streets of Buenos Aires.

No synopsis available yet.

A story by Mario Levrero and a mythical house in the Paraná Delta (Tigre - Argentina) conspire to shape this film, as two pieces that complement each other but without keeping a total synchronization. The voice-over becomes the common thread of a fantastic surreal story about strange events that occurred in an abandoned house. The action highlighted with the unique presence of insects, shadows, reflections and rain, proposes scenarios for the specific spaces in the story and invites you to recreate the characters and events narrated there.

Two female producers are commissioned to create a short documentary for an exhibition dedicated to Rubén Santantonín, an elusive figure of the Argentine avant-garde who died very young, in the late 1960s. However, the client imposes one unexpected condition: the video must be made together with David Lamelas, Santantonín’s former collaborator and today an internationally recognized figure of conceptual art. At first, the plan seems clear and limited in scope: Lamelas, accompanied by a young film crew, gathers archival materials, documents the few surviving works, and interviews curators and major artists – such as Luis Felipe Noé and Marta Minujín – who, along with Santantonín and Lamelas, peopled the legendary scene at the Instituto Torcuato Di Tella. Lamelas gradually realizes that reconstructing the story of his friend also means confronting a series of gaps and contradictions.

Portrait of the mythical ballerina Iris Scaccheri, made entirely with photographies.

From her encounter with Eva Perón to the death of the icon, from her fascination with the Peronist cause to the persecution she will suffer after the Liberating Revolution, film star Fanny Navarro remembers her life walking today in the streets of Buenos Aires.

No synopsis available yet.

Several shots that were born to be mere appendices of other more important ones, are reorganized to shape another narrative, forming a stream of images and sounds with no plot, no characters, no motive, but that advances irresponsibly towards nowhere.

No synopsis available yet.

Joan Crawford is a Hollywood legend. She star of bright and somber melodramas. She reigned on the screens for several decades, but every kingdom has her sunset. At that twilight moment, and as if trying to escape that crossroads, Joan decides to call the notable American artist, the greatest exponent of Pop Art: Andy Warhol. Her intention is to replace her muse, Elizabeth Taylor, in the serigraphs that the artist will present at the Ferus Gallery in Los Angeles. This intrusion will give rise to a telephone conversation where the queen of melodrama will confirm that the world has changed and that her cinematographic life in black and white is already part of an implacable past.

A brief record of the insects and arachnids that visited my house during a very hot summer in Buenos Aires.

A brief record of the insects and arachnids that visited my house during a very hot summer in Buenos Aires.

This study on Quino's style, carried out by Mariano Llinás and Ignacio Masllorens in 2005 as part of their documentary “El Humor (Small Illustrated Encyclopedia)” is a delicate and lucid look at the work of someone who was much more than the inventor of the endearing Mafalda.

Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.

Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.

Martin Blaszko is considered one of the most important artists of geometric abstraction in Latin America. This documentary, which ends a trilogy, follows the setup of what ended up being his last art show, through only twenty sequences.

In 1899, German neurobiologist Christofredo Jakob arrived in Argentina to conduct his research at the Hospital de las Alienadas, an insane asylum for women. More than a century later, in a semi-abandoned ward of what is now the Hospital Moyano, the traces of that experience appear in the form of brains and heads preserved in formaldehyde, stuffed animals and photographs from the patients who inhabited the hospital.

In 1899, German neurobiologist Christofredo Jakob arrived in Argentina to conduct his research at the Hospital de las Alienadas, an insane asylum for women. More than a century later, in a semi-abandoned ward of what is now the Hospital Moyano, the traces of that experience appear in the form of brains and heads preserved in formaldehyde, stuffed animals and photographs from the patients who inhabited the hospital.

No synopsis available yet.

No synopsis available yet.

A monolith is the excuse for a journey to an obsession full of charms and, like every dream, also some disappointment.

A monolith is the excuse for a journey to an obsession full of charms and, like every dream, also some disappointment.

A childish and robotic voice lists different adventures together with its particular pets: snails. As if it were a scientific report, the real and the fantastic merge in this unique story.

A story rescued from the memory of an old woman exposes a fascinating parallel between humans and numbers.

What do Eva Perón, Víctor Grippo, an American tourist and the Catamaran poet Arturo Basanta have in common? That all of them once passed through the Traslasierra valley and were also victims of the tuber that has obsessed with the inhabitants of Villa Dolores: the solanum tuberosum, better known as the potato.

What do Eva Perón, Víctor Grippo, an American tourist and the Catamaran poet Arturo Basanta have in common? That all of them once passed through the Traslasierra valley and were also victims of the tuber that has obsessed with the inhabitants of Villa Dolores: the solanum tuberosum, better known as the potato.

In 1969 Argentine filmmaker Hugo Santiago directed Invasión, his opera prima, written by Jorge Luis Borges and Adolfo Bioy Casares, and later settled in France. This film documents his return to Buenos Aires in 2013 to shoot his latest film, Le ciel du centaure.


In 1973 Hugo Santiago made Les Autres, his second feature film. The film was produced in Paris by a team composed mostly of Argentines, and written together with Jorge Luis Borges and Adolfo Bioy Casares. Even so, the film ends up representing France in the official competition at the Cannes festival in 1974. That premiere is a great scandal in which political reasons and film criticism are confused. In this brief introduction, Hugo gives us some clues to better understand his most unknown work, and suggests that after the controversy unleashed in Cannes his career changed forever.

In 1973 Hugo Santiago made Les Autres, his second feature film. The film was produced in Paris by a team composed mostly of Argentines, and written together with Jorge Luis Borges and Adolfo Bioy Casares. Even so, the film ends up representing France in the official competition at the Cannes festival in 1974. That premiere is a great scandal in which political reasons and film criticism are confused. In this brief introduction, Hugo gives us some clues to better understand his most unknown work, and suggests that after the controversy unleashed in Cannes his career changed forever.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

The story of Buenos Aires' first work of rationalist architecture, narrated by its last tenant.

Analía and Andrés are neighbors but barely know each other. On the night of December 31, 1999, both are forced, for different reasons, to spend New Year's Eve alone.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

The tale of a family during the 20 th century, built from archive footage. Through an imaginary dialogue between two characters a plot begins to weave that finally reveals who they are—a father and a daughter, and the peculiar history that binds them.