Narcisa Hirsch

"The world is a tarantula ... a big, dark tarantula, moving around weaving its own web." A journey into myths and origins of the world with the grand dame of Argentine avant-garde cinema. See the Earth as it really is: A marble spinning in a sea of eternity.

Portrait of women where they look at the images of their own faces and reflect on that experience.

Twins still in their amniotic fluid announce our human condition, our compulsion to walk, move forward, run. When everything moves, we go through the forest of emotions in a dreamlike way. But it is thanks to water and its light reflections, to its transforming power that the infinite “Kosmos” plays with our uncertainty.

This documentary is an approach to the experience of seeing and listening to the trajectory of Narcisa Hirsch, a pioneer of Argentine experimental cinema, but who has also been part of the happenings and performances of the 1960s and 1970s.

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

A portrait of Narcisa Hirsch, Argentine filmmaker, pioneer of experimental cinema. The artist explores the path of her memories, where the traces of some men appear, which are transposed with the constant reference to the desert.

"The world is a tarantula ... a big, dark tarantula, moving around weaving its own web." A journey into myths and origins of the world with the grand dame of Argentine avant-garde cinema. See the Earth as it really is: A marble spinning in a sea of eternity.

Portrait of women where they look at the images of their own faces and reflect on that experience.

Twins still in their amniotic fluid announce our human condition, our compulsion to walk, move forward, run. When everything moves, we go through the forest of emotions in a dreamlike way. But it is thanks to water and its light reflections, to its transforming power that the infinite “Kosmos” plays with our uncertainty.

Twins still in their amniotic fluid announce our human condition, our compulsion to walk, move forward, run. When everything moves, we go through the forest of emotions in a dreamlike way. But it is thanks to water and its light reflections, to its transforming power that the infinite “Kosmos” plays with our uncertainty.

A tribute to Virginia, a 23-year-old girl who apparently committed suicide in Ibiza. Excerpts from her letters to Narcisa, written on the walls, appear in the film as a leitmotif.

No synopsis available yet.

"Life is a latency that as time and space becomes visible as a figure. But never eat at all, there are other possible lives. Making a life is difficult, filming the impossible itself . with this imago-auto-bio-graphy is an attempt to talk about this ambiguity, where what could be is the possibility of a memory, where what was and what was not, can be remembered in the same way, . always I lived with mixing the imagined thing is chosen in this chancy; go left on the road the other films that might have emerged" -Narcisa Hirsch

The dialogue of a woman with herself split into two unknown opposites.

The dialogue of a woman with herself split into two unknown opposites.

The dialogue of a woman with herself split into two unknown opposites.

"Academia del fracaso" is a speculative aesthetic fact of a polemic nature, as Marta Minujín explains when she talks about her work. Portrayed in this film explaining the functioning of her participatory performance in 1974, the artist extends herself to reflect and talk about some things, many things, that make up the world and its ideas.

The Aleph is the point where diachronic and synchronic times meet, and each second represents a moment in life, from birth to death.

The camera takes in the Patagonian pastures, then the faces in an old warehouse, and transparent photos of Patagonian scenes. Everything is filtered by an amber light. (Narcisa Hirsch Filmoteca)

The life story of an artist. The fantasy of a poetic burial accompanied by friends of cinema.

No synopsis available yet.

MUNDIAL 78 is a humorous depiction of the controversial 1978 football World Cup that took place during the Argentinian dictatorship

Patagonia reflects Hirsch's close connection to Argentina’s natural world and the people around her.

The movie follows a group of children living in the streets in the city of Buenos Aires. The only day center working is the CAINA (Centro de Atención Integral a la Niñez y Adolescencia) an institution that assists and shelters street children.

The movie follows a group of children living in the streets in the city of Buenos Aires. The only day center working is the CAINA (Centro de Atención Integral a la Niñez y Adolescencia) an institution that assists and shelters street children.

An unpublished piece by this pioneer of experimental cinema with the participation of Elías Cherñajovsky and Sergio Levin.

This film is the testimony of men speaking to their own image. Each man, alone in a dark space, speaks to himself while watching his own projection. As viewers, we see his image and hear his voice, becoming witnesses to this dialogue.

Narcisa Hirsch (Berlin, 1928), a pioneer of experimental cinema in Argentina, produced continuously in various media since the 60s. In the beginning, as a painter and illustrator, her works were exhibited at the Gallery Lirolay, which, like the Instituto Di Tella, was the most important art gallery in Buenos Aires in the 60s. She conducted performances and happenings, and was part of the group of filmmakers formed by Marie Louise Alemann, Claudio Caldini, Horacio Vallereggio, Juan Villola and Juan José Mugni, exhibiting their films outside the circuit of theaters and institutions, with the exception of the Goethe Institute, an organization that during the last military dictatorship in Argentina accompanied this movement and gave a formal context to it.

Narcisa Hirsch (Berlin, 1928), a pioneer of experimental cinema in Argentina, produced continuously in various media since the 60s. In the beginning, as a painter and illustrator, her works were exhibited at the Gallery Lirolay, which, like the Instituto Di Tella, was the most important art gallery in Buenos Aires in the 60s. She conducted performances and happenings, and was part of the group of filmmakers formed by Marie Louise Alemann, Claudio Caldini, Horacio Vallereggio, Juan Villola and Juan José Mugni, exhibiting their films outside the circuit of theaters and institutions, with the exception of the Goethe Institute, an organization that during the last military dictatorship in Argentina accompanied this movement and gave a formal context to it.

a film by Narcisa Hirsch

The hands of Narcisa Hirsch, a nonagenarian, open another Super 8 film cartridge to load a camera. In what seems like a ritual of passing on a legacy, the grandmother and her grandson, Tomás Rautenstrauch, watch a film of a meadow that gradually fills the frame.

In Aída (1976), a Super 8 camera captures ballerina Aída Laib dancing vigorously in Hirsch’s atelier to the sounds of Nina Simone. The dancing movements intersperse with a visual exploration of the artist’s naked body, where Hirsch’s sensual gaze grasps textures and reaches abstraction.

Images from the texts of Rumi, 13th century Sufi poet.

on the image of a collage on the wall, the voice of a woman describes a man the interior space of a workshop that is not seen.

No synopsis available yet.

Happening by Narcisa Hirsch, where she gives free apples in the street while we hear passersby's comments.

Hirsch’s first steps in filmmaking were documentations of her performances and happenings in public spaces. These were collective actions, filmed initially on 8mm or 16mm film, which record the reactions of a randomly chosen spectator.

"the speed of time dissolves thought"

The role of men returning from the war; it is the end of the battles and ideologies.

A mixture of abstract images and, as if out of a Man Ray painting, a large mouth in the foreground with red lipstick slowly devours a raw liver and then goes on to eat a postcard. Meanwhile, romantic Neapolitan songs play in the background. As Andrea Giunta says: At the same time they function as a hyperbole of the feminine in a register impregnated with pop aesthetics (they are perfect lips and make-up), but in which the flesh introduces an element of deep transgression, with scatological tensions.

Documentary about Jewish colonizers in Argentina.

Marabunta, a ceremony in collective anthropophagy involving a six-meter skeleton completely covered in fruit and food, inside of which were live doves and parrots painted with phosphorescent colors that flew out as people were eating.

About the music of Steve Reich, a phrase be phased out as the image it makes the reverse movement.

“ Cinema is what happens between frames," said German experimental filmmaker Werner Nekes. A woman and a man are on the ground together but it looks as though they are floating without moving. Silence overruns the scene; she stops and walks away. La Noche Bengalí is a documentary made as part of the seminar that Wernes Nekes held in Buenos Aires in 1980, sponsored by the Goethe Institute.

Over the course of one year, Narcisa Hirsch left a super 8 camera on a tripod in a paddock near her house in the Patagonia. When she was away, she gave instructions to activate the camera to a local farmer who looked after cows in the area.

The transformation of an image. A woman suddenly transfigured breast and cut, like the Amazon, making new weapons: the bow and arrow.