Franca González

In Tolhuin, a small town lost in the extreme south of Argentina where almost nobody goes to stay, where the cold and the wind enter through all the cracks and the snow covers the fences, a man tries to prevent people from leaving through a new I try, a carnival in the middle of winter. This is a film about the efforts that man makes to adapt to a non-chosen destiny, to a territory that is hostile to him and that confronts him with nature in its purest and unbridled state.

The year 2023 marks the 35th anniversary of the association La Mujer y el Cine, and 43 female directors have come together to deliver a fragment of their gaze, a frame, an aesthetic and ethical decision, a tribute to women who anticipated the struggle. A leap into the void made by women filmmakers of different ages and backgrounds. United, in a sort of electronic loom, as an offering and a legacy in which a moment in the history of Argentine cinema is told, where we were all one, with our eyes on the past, our gaze on the present and the horizon full of the future.

In the north of the pampas, the remains of a population lie hidden under the soil; they’ve been this way for more than a century. Their casual discovery is the starting point with which the film tries to puzzle out that mystery. There where soy reigns, one more battle is fought in the constant struggle of film against oblivion.

Between poetic observation and cinematographic portrait, this film delves into the universe of the sculptor Leo Vinci. At 92 years old, Leo plays at creating and transmuting the sacrifice of daily work into the sacred office of transforming the world with his hands.

Stan Hunt is a red cedar carver. He learned this art thanks to his father and grandfather, master sculptors from the Kwakiutl people, a group of forgotten villages in the north of Vancouver Island, near the Gulf of Alaska. Stan works on the most momentous piece of his life. A totem of 14 meters. A cedar that took 1,500 years to weigh more than 5 tons.

Winter 2007. Two artists from Argentina receive a grant to develop their work in Montreal (Canada). The only catch? They have to share an apartment. In this way filmmaker Franca González and cartoonist Ricardo Siri Liniers come to know each other. From the moment González becomes the roommate of Liniers, a friendship emerges between them and she makes him the proposal of doing a documentary about him. The film starts with an argument to get Liniers permission to chase him with videocameras and ends up becoming one of the most tender portraits ever done of the artist, reflecting the transcendence that ensues from the simple line of his drawings.

In Tolhuin, a small town lost in the extreme south of Argentina where almost nobody goes to stay, where the cold and the wind enter through all the cracks and the snow covers the fences, a man tries to prevent people from leaving through a new I try, a carnival in the middle of winter. This is a film about the efforts that man makes to adapt to a non-chosen destiny, to a territory that is hostile to him and that confronts him with nature in its purest and unbridled state.

In Tolhuin, a small town lost in the extreme south of Argentina where almost nobody goes to stay, where the cold and the wind enter through all the cracks and the snow covers the fences, a man tries to prevent people from leaving through a new I try, a carnival in the middle of winter. This is a film about the efforts that man makes to adapt to a non-chosen destiny, to a territory that is hostile to him and that confronts him with nature in its purest and unbridled state.

The year 2023 marks the 35th anniversary of the association La Mujer y el Cine, and 43 female directors have come together to deliver a fragment of their gaze, a frame, an aesthetic and ethical decision, a tribute to women who anticipated the struggle. A leap into the void made by women filmmakers of different ages and backgrounds. United, in a sort of electronic loom, as an offering and a legacy in which a moment in the history of Argentine cinema is told, where we were all one, with our eyes on the past, our gaze on the present and the horizon full of the future.

In the north of the pampas, the remains of a population lie hidden under the soil; they’ve been this way for more than a century. Their casual discovery is the starting point with which the film tries to puzzle out that mystery. There where soy reigns, one more battle is fought in the constant struggle of film against oblivion.

Between poetic observation and cinematographic portrait, this film delves into the universe of the sculptor Leo Vinci. At 92 years old, Leo plays at creating and transmuting the sacrifice of daily work into the sacred office of transforming the world with his hands.

Between poetic observation and cinematographic portrait, this film delves into the universe of the sculptor Leo Vinci. At 92 years old, Leo plays at creating and transmuting the sacrifice of daily work into the sacred office of transforming the world with his hands.

Between poetic observation and cinematographic portrait, this film delves into the universe of the sculptor Leo Vinci. At 92 years old, Leo plays at creating and transmuting the sacrifice of daily work into the sacred office of transforming the world with his hands.

Stan Hunt is a red cedar carver. He learned this art thanks to his father and grandfather, master sculptors from the Kwakiutl people, a group of forgotten villages in the north of Vancouver Island, near the Gulf of Alaska. Stan works on the most momentous piece of his life. A totem of 14 meters. A cedar that took 1,500 years to weigh more than 5 tons.

Stan Hunt is a red cedar carver. He learned this art thanks to his father and grandfather, master sculptors from the Kwakiutl people, a group of forgotten villages in the north of Vancouver Island, near the Gulf of Alaska. Stan works on the most momentous piece of his life. A totem of 14 meters. A cedar that took 1,500 years to weigh more than 5 tons.

Winter 2007. Two artists from Argentina receive a grant to develop their work in Montreal (Canada). The only catch? They have to share an apartment. In this way filmmaker Franca González and cartoonist Ricardo Siri Liniers come to know each other. From the moment González becomes the roommate of Liniers, a friendship emerges between them and she makes him the proposal of doing a documentary about him. The film starts with an argument to get Liniers permission to chase him with videocameras and ends up becoming one of the most tender portraits ever done of the artist, reflecting the transcendence that ensues from the simple line of his drawings.

A documentary essay based on materials, both original and sourced, created during the strictest isolation. Accounts of a world that suddenly became unrecognizable. Voyeuristic and intimate, it is a provocative and irreverent film.

A documentary essay based on materials, both original and sourced, created during the strictest isolation. Accounts of a world that suddenly became unrecognizable. Voyeuristic and intimate, it is a provocative and irreverent film.

The director of this film travels to meet her grandmother, a woman who lived alone in a vast house in the middle of La Pampa. The film captures the emotions of this journey into the past and delves into images of a bygone era, while also recapturing the simple joy of reuniting with loved ones and places that were once precious.