Directing
Jorge Giannoni
Known for
Directing
Credits
6 titles
Known for
NRNo synopsis available yet.
Molotov Party
1970
9.0Jorge Giannoni isn't a hero; he's a witness to the darkest part of the history of independent cinema in our country, and of an entire generation; a story that saw him present alongside Raymundo Gleyzer and Glauber Rocha in the turbulent Brazil of the 1960s, during the French May as a producer for RAI, in his work as a face-hunter for Fellini, and in film production from Cuba, making documentaries critical of the Trial; a history riddled with encounters, disagreements, exiles, frustrations, burned negatives, and a few triumphs.
Jorge Giannoni: NN, ese soy yo
2000
Documentary on the political history of Bolivia by Colectivo C3M - Cinema del Terzo Mondo
Bolivia: El tiempo de los generales
1972
Argentine politics between 1955 and 1976.
Las vacas sagradas
1977
NRStructured in chapters, the film moves from the aftermath of the 1967 war to mass demonstrations and training grounds, where men, women, and children practice survival and resistance. The camera’s proximity, switching between black-and-white and colour, treats cinema as witness, archive, and rallying cry.
Palestine, Another Vietnam
1972
Film credits
Behind the camera
NRNo synopsis available yet.
Molotov Party
1970
Documentary on the political history of Bolivia by Colectivo C3M - Cinema del Terzo Mondo
Bolivia: El tiempo de los generales
1972
Argentine politics between 1955 and 1976.
Las vacas sagradas
1977
NRStructured in chapters, the film moves from the aftermath of the 1967 war to mass demonstrations and training grounds, where men, women, and children practice survival and resistance. The camera’s proximity, switching between black-and-white and colour, treats cinema as witness, archive, and rallying cry.
Palestine, Another Vietnam
1972
NRStructured in chapters, the film moves from the aftermath of the 1967 war to mass demonstrations and training grounds, where men, women, and children practice survival and resistance. The camera’s proximity, switching between black-and-white and colour, treats cinema as witness, archive, and rallying cry.
Palestine, Another Vietnam
1972
