Quintín

An inquiry into film criticism in Argentina framed inside the historical debate about film ontology

Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable

Sunday afternoon at Las Heras Park. People and dogs pass by, and others enjoy while seated. It’s serene. It is a happy time. The film tries to share that afternoon under the linden trees, which are the most protective.

Flavia de la Fuente abandons for this time the portraits of her favorite city, San Clemente, to travel to another place and dedicate one of her works to Buenos Aires, in what promises to be the first part of a series. La ciudad y los patos portrays a typical place of Buenos Aires tourism but, as it usually happens with the films of its author, it is the times that end up giving beauty to some spaces that we all get tired of seeing, but that routine has always shown us in the same way, hurried and neglected.