Nele Wohlatz

A coastal city in Brazil. Kai arrives from Taiwan for holidays with a broken heart. A broken air conditioner sends her into Fu Ang’s umbrella store. He could become a friend, but the rainy season doesn't arrive and his shop disappears. While looking for Fu Ang, Kai discovers the story of Xiaoxin and a group of Chinese workers in a posh skyscraper. Kai finds herself strangely mirrored in Xiaoxin’s tale.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Archival footage of Argentinian skiers is transposed into prompts for language exercises.

A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.

The couple from the countryside is siting there, and tells all about their love. The man talks about how he met her; the woman talks about how they split up. The countryside was keeping its most hidden secret.

A coastal city in Brazil. Kai arrives from Taiwan for holidays with a broken heart. A broken air conditioner sends her into Fu Ang’s umbrella store. He could become a friend, but the rainy season doesn't arrive and his shop disappears. While looking for Fu Ang, Kai discovers the story of Xiaoxin and a group of Chinese workers in a posh skyscraper. Kai finds herself strangely mirrored in Xiaoxin’s tale.

A coastal city in Brazil. Kai arrives from Taiwan for holidays with a broken heart. A broken air conditioner sends her into Fu Ang’s umbrella store. He could become a friend, but the rainy season doesn't arrive and his shop disappears. While looking for Fu Ang, Kai discovers the story of Xiaoxin and a group of Chinese workers in a posh skyscraper. Kai finds herself strangely mirrored in Xiaoxin’s tale.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Archival footage of Argentinian skiers is transposed into prompts for language exercises.

Archival footage of Argentinian skiers is transposed into prompts for language exercises.

Archival footage of Argentinian skiers is transposed into prompts for language exercises.

A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.

A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.

The couple from the countryside is siting there, and tells all about their love. The man talks about how he met her; the woman talks about how they split up. The countryside was keeping its most hidden secret.

I keep moving the videos from one place to another and look for a relationship, as if they were the material for a film. That's how I know it: we shoot images to tell a story with them. But none of these videos were shot with that intention.

I keep moving the videos from one place to another and look for a relationship, as if they were the material for a film. That's how I know it: we shoot images to tell a story with them. But none of these videos were shot with that intention.

An ecologist from Germany and her filmmaker daughter who lives in Argentina meet in Cuba to film a documentary on snails. The mother has worked for years helping her colleagues in Cuba protect the polymita picta snails, which are facing extinction. She has her own ideas on how to make the documentary and the daughter follows her lead. However, when the authorities ban the shooting, the course of the film changes: it is no longer about the snails, but they themselves become the protagonists.

A young Taiwanese woman Kai spends a summer day with German relatives at an allotment. At lunch they make a surprising discovery: one of the spoons has a swastika engraved on it. In the ensuing discussion different ideas come up about what to do with the artefact.