Nicolás Zukerfeld

A city department is the scene of confluences of relationships, where the intimacy of a couple and the public sphere of work are confused and converge.

Film made to commemorate the first 10 years of BAFICI. The film alternates fictional scenes of a couple of spectators in different situations at BAFICI, with interviews and testimonies of important figures in the history of the festival. The first series captures a certain spectator spirit of the festival, while the second accumulates successes, built by reading texts and with interviews with central actors of the film scene in Argentina.

No synopsis available yet.

In Vigo, Spain, during Christmas, Ángel, a Spanish filmmaker, walks through the crowded streets while thinking about a possible movie made of…

In Vigo, Spain, during Christmas, Ángel, a Spanish filmmaker, walks through the crowded streets while thinking about a possible movie made of…

Search for Immortality is a book divided into three chapters with 128 pages. But it is also 3,420 frames per second, filmed with a Bolex H16 Rex, in 16mm. Perhaps the search for immortality is precisely that: an attempt to capture a totality, at once impossible and fragmentary. And to fail.

No synopsis available yet.

No synopsis available yet.

On 10 December 2024, at around two o’clock in the afternoon, a homeless man immerses himself in a lake in a Buenos Aires park and disappears. From this news item, the filmmaker reflects on the films that will never be made and those that may still be possible.

Agustín, a comic book illustrator, doesn’t want to continue drawing. Perhaps he’s a talentless man, or maybe he just doesn’t feel like it. One day he has a dream in which he barges in her ex-girlfriend’s place. That same day, he wants to prove if everything is still there, the way he left it.

Agustín, a comic book illustrator, doesn’t want to continue drawing. Perhaps he’s a talentless man, or maybe he just doesn’t feel like it. One day he has a dream in which he barges in her ex-girlfriend’s place. That same day, he wants to prove if everything is still there, the way he left it.

"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF

"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF

A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.

A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.

Gaspar has his first date with Manuela. Gaspar likes Manuela. Manuela doesn't like Gaspar very much, but she likes that Gaspar likes her. They talk about the things that are usually talked about on first dates

A young man decides to self-examine. He escapes from school and meets two friends who do not know his plan. They spend the whole day wandering around the center of Buenos Aires. Finally, the young man leaves his friends in a train while they sleep. The young man, alone, wanders through the city through the night. Security cameras monitor the city, but the young man disappears.