Ignacio Ragone

A short and moving journey into the universal topics of friendship, youth, love and death.

In 2017, playwright Marco Canale staged a play called La velocidad de la luz (“The Speed of Light”) in the Villa 31 slum. There, a group of indigenous elderly ladies recovered their traditions in order to explore their bonds with modern culture, religion, politics and their own memories. Three years later, Canale replicated the idea in Japan and structured this film, together with Juan Fernández Gebauer and Ignacio Ragone, that revolves around that experience.

"There was a time when carob trees were our founthead of life. When you could serenely see rabbits, armadillos and many other species. The night that the white man appeared the black eagle warned us: 'Danger, Danger'

A sick man takes on a trip with no return. A filmmaker proposes to film that trip. This is the result of the experience.

A home movie in the ruins of modern architecture. A arborescent stream of consciousness that gloats over one of the most elementary cinematic mysteries—the thrill of discovering a secret.

Letters, photos, furniture, hats, pipes, combs, eyeglasses, pens, pen holders, infinite books. An inventory of all, almost all, or simply some of the things that rest in the neocolonial house of a man whose name was Ricardo Rojas and who, one hundred years ago, wrote a delirious book called Eurindia.

A short and moving journey into the universal topics of friendship, youth, love and death.

In 2017, playwright Marco Canale staged a play called La velocidad de la luz (“The Speed of Light”) in the Villa 31 slum. There, a group of indigenous elderly ladies recovered their traditions in order to explore their bonds with modern culture, religion, politics and their own memories. Three years later, Canale replicated the idea in Japan and structured this film, together with Juan Fernández Gebauer and Ignacio Ragone, that revolves around that experience.

"There was a time when carob trees were our founthead of life. When you could serenely see rabbits, armadillos and many other species. The night that the white man appeared the black eagle warned us: 'Danger, Danger'

A sick man takes on a trip with no return. A filmmaker proposes to film that trip. This is the result of the experience.

A sick man takes on a trip with no return. A filmmaker proposes to film that trip. This is the result of the experience.

A sick man takes on a trip with no return. A filmmaker proposes to film that trip. This is the result of the experience.

A home movie in the ruins of modern architecture. A arborescent stream of consciousness that gloats over one of the most elementary cinematic mysteries—the thrill of discovering a secret.

A home movie in the ruins of modern architecture. A arborescent stream of consciousness that gloats over one of the most elementary cinematic mysteries—the thrill of discovering a secret.

Letters, photos, furniture, hats, pipes, combs, eyeglasses, pens, pen holders, infinite books. An inventory of all, almost all, or simply some of the things that rest in the neocolonial house of a man whose name was Ricardo Rojas and who, one hundred years ago, wrote a delirious book called Eurindia.

Letters, photos, furniture, hats, pipes, combs, eyeglasses, pens, pen holders, infinite books. An inventory of all, almost all, or simply some of the things that rest in the neocolonial house of a man whose name was Ricardo Rojas and who, one hundred years ago, wrote a delirious book called Eurindia.

When you hate, a wallet is a treasure, the dance is hell, and the other is an enemy. Hate destroys even what is loved.

No synopsis available yet.

No synopsis available yet.