Azul Aizenberg

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.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

A history book, a film saved from the dictatorship, an exiled film director, and a collection of pirated films. The filmmaker traces the images of the women who led to the triumph of the longest strike in Argentine history.

In home-movies shot in the ‘90s by her father, the filmmaker discovers in these inherited images powerful fictions of the Argentinian middle class and the country’s recent history.

It's a summer day in 1983 in Mar del Plata. A group of men and women walk slowly through the grasslands beside the train tracks, forming the Agrupación Crotos Libres (Free Hobos). With anarchist roots, the hobos advocate a life without a fixed abode, free from material attachments, in defense of leisure and working-class solidarity. Since then, their "non-profit" walks have been their main activity. Pedro, one of the last remaining hobos, recounts their history through his amateur VHS footage.

At the heart of this film lies a reunion: that of Alberto Gauna and Ignacio Ródenas —director and director of photography of Cerro de Leones, friends separated by life and history— who watch together, fifty years later, the film they made in his youth. The recognition of images of the past is the starting point and central theme of A Dream Loaded with the Future: a film about the power of cinema when it serves the memory of the people and their struggles, the harshness of exile and the legacy and relevance enduring of the first film made by Tandil filmmakers.

A history book, a film saved from the dictatorship, an exiled film director, and a collection of pirated films. The filmmaker traces the images of the women who led to the triumph of the longest strike in Argentine history.

In home-movies shot in the ‘90s by her father, the filmmaker discovers in these inherited images powerful fictions of the Argentinian middle class and the country’s recent history.

In home-movies shot in the ‘90s by her father, the filmmaker discovers in these inherited images powerful fictions of the Argentinian middle class and the country’s recent history.

In home-movies shot in the ‘90s by her father, the filmmaker discovers in these inherited images powerful fictions of the Argentinian middle class and the country’s recent history.

It's a summer day in 1983 in Mar del Plata. A group of men and women walk slowly through the grasslands beside the train tracks, forming the Agrupación Crotos Libres (Free Hobos). With anarchist roots, the hobos advocate a life without a fixed abode, free from material attachments, in defense of leisure and working-class solidarity. Since then, their "non-profit" walks have been their main activity. Pedro, one of the last remaining hobos, recounts their history through his amateur VHS footage.