María Aparicio

No synopsis available yet.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

Eva is just passing through Madrid. She spends her days there alone: she doesn't know anyone and isn’t particularly interested in getting to know new people. The city is therefore an unfamiliar place where she wanders aimlessly, her curiosity somewhat dampened. But one afternoon, at the Reina Sofía Museum, a man approaches her. His name is Dante and he is an Argentine historian researching labor struggles in his country and the career of Juan Bialet Massé.

Eva is just passing through Madrid. She spends her days there alone: she doesn't know anyone and isn’t particularly interested in getting to know new people. The city is therefore an unfamiliar place where she wanders aimlessly, her curiosity somewhat dampened. But one afternoon, at the Reina Sofía Museum, a man approaches her. His name is Dante and he is an Argentine historian researching labor struggles in his country and the career of Juan Bialet Massé.

After being unemployed for several months, Hernán attends a job interview to apply for a position in a call center.

After being unemployed for several months, Hernán attends a job interview to apply for a position in a call center.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

Collective film made from digitalized footage from the collection of Argentinian nitrate films of the Museo del Cine Pablo Ducrós Hicken, made on the occasion of its anniversary.

Eva, a film editor, and her assistant Rami are working on a film about blind people. A melancholy reflection on cinema and images.

Eva, a film editor, and her assistant Rami are working on a film about blind people. A melancholy reflection on cinema and images.

Eva, a film editor, and her assistant Rami are working on a film about blind people. A melancholy reflection on cinema and images.

No synopsis available yet.

"Buscar trabajo" is part of the film "Lo que vieron aquellos ojos" together with short films by Florencia Labat, Franco Figueroa and Manque La Banca. It was produced within the context of the Bienal de Arte Joven in 2022, through the call "Experimentación audiovisual: 50 años del Museo del Cine". The materials of this film are part of the Argentine Nitrate Collection of the Cinema Museum Pablo Ducrós Hicken. The work process of "Lo que vieron aquellos ojos" was coordinated by Maui Alena and advised by Malena Solarz and Pablo Padovani.