Raúl Perrone

“Some time ago, I decided to stop writing synopses of my films. I want people to come without knowing what they are going to see. There will be no trailer either; they are deceitful and never truly reflect the spirit of the film. Thank you for your understanding.” -Raúl Perrone

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Edgardo Cozarinsky was the Marqués of Sade for a couple of hours. It happened in a Raúl Perrone movie…

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I decided a long time ago not to do any more synopses of my films. I want people to arrive without knowing what they are going to watch. There won't be a trailer either – they're liars AND they never really reflect the spirit of the film. Thanks for understanding.

Open details →

Some time ago, I decided not to make any more synopsis of my films. I want people to arrive without knowing what they are going to see. There won't be a trailer either; they lie and never really reflect the spirit of the film. Thank you for understanding. RP

Open details →

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A portrait of five young workers from Ituzaingó during their summer vacation. The country's structural violence hangs like a dark cloud over them, and the sale of cocaine is a way to cope with the lack of employment and future prospects that have reduced their lives to mere survival. We see them mainly in a public park where they can play sports, listen to live music, or just hang out.

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In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

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A film about Donatien Alphonse François de Sade by Raul Perrone

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Perrone asks the young people he always shoots to be the cameramen on his movie; on that record he will organize the fragments of life snatched from time and add diverse sound layers.

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Images from other films left behind and images provided. Edited between April and May 2020, during the confinement of Covid-19.

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This night, Ituzaingó, in the outskirts of Buenos Aires, exudes film and theater. Actors, actresses, directors, and producers parade like narcissuses of the underground in a world of jealousy, hypocrisy, idiocy, and so much more.

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Perrone’s devotion to Pasolini has always been very clear. But the explicit homages in P3nd3jo5 and Ragazzi apparently weren’t enough: now a lookalike of the Italian director has turned up in Ituizangó.

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The cynical philosophers lived in Ancient Greece. Its name comes from the word "dog", denomination attributed by its frugal way of living. They considered that civilization was an evil and so they despised riches and repudiated sciences, norms, and conventions.

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Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

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A film-maker in a poor town in Argentina is working on a film which is split into three chapters in the tradition of jidaigeki, the old Japanese swordfight films. In the first part, a samurai murders the son of a brothel owner and the father swears revenge. In the second, a woman loves a benevolent samurai but is forced to become the lover of a rogue. And in the last chapter, a samurai returns from war and doesn't recognize his wife any more. All this happens in an enchanted world of haunting beauty, underscored with snatches of Cumbia rhythms, string motifs by Samuel Barber and melodies by Chet Baker. Samuray-s is a cinematic adventure.

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An enchanted and dangerous jungle. A woman and her husband. A young boy and a teenaged girl who look like brother and sister. Another girl and two men from another time. Gunshots. An escape. A cascade and a storm. Love. Passion. Death.

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1 - the last day in the life of Pasolini but from the look of his aggressor a ragazzi - like any other his friends - his environment - his tragedy 2 - a group of ragazzis working with their wooden carts in the city of Cordoba but the gaze is focus on them - playing in the river and with a mysterious woman Ragazzi is a symphony in two movements

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An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

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A teenager's trip to spend the spring day, the problems a man has with his wife and her lover, evangelists preaching the word of God.

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Luján was a construction worker. He had fourteen children, some of whom he no longer remembers the name of. It is separate. A neighbor, Liliana, gives him a house and food, in exchange for work. One of his children claims him, but he does not want to return, because he is no longer even half of what he was.

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Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

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A portrait of Nicéforo Galván's house after his death.

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In this film, which takes place for the most part inside a house that seems to be isolated from any contemporaneity, except for the news coming from television and the ringing of cell phones, Perrone shows the routines of his characters as rites of stagnation: the novel at full volume, the haircuts, the text messages. In the house of Los actos cotidianes there is a certain refuge in the family in front of a world that is guessed hostile, too wide and foreign.

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Heber tender love between a Chinese boy who lives in Buenos Aires, and Jaqueline, a girl from the suburbs. She cares for him, protects and serves as a translator, although he already has three years in Argentina and speaks fairly good Spanish. On that happiness a shadow looms: Heber wants to emigrate, to find his sister in Canada. Love story in two stages: one contemplative, with lovers lost in their youthful love; other harder, threatened by the specter of separation.

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Documentary about the daily lives of elderly couple Ofelia and Galván and their pet tortoise.

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Pedro, the father of the family, overcome with wine, embarks on futile ventures. María, the mother, transformed into an apple farmer, can barely bear her burden. Her teenage children, Bebo and Sole, have the destiny of suburban youth, between mischief and tragedy.

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Graciadió will premiere in Ituzaingó and the show will reunite Violeta Naón and Gustavo Prone, its protagonists, who have not met again in the last eight years. Perrone takes the opportunity to make another film, Eight years later, the story of those two actors and their reunion. To preserve the truth of this new encounter between Violeta and Gustavo, Perrone filmed the entire film with unique shots, without repeating any. One of them a long flat-sequence of 25 minutes.

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A love story between a film student and a Japanese girl on their first day of work at the Japanese Garden.

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An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

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Peluca is dating Marisita, a girl who has dropped out of school and spends her days watching television and arguing with her mother, who is exasperated to see her with no prospects for the future. The drama of a life without protection is heightened when Marisita becomes pregnant. Peluca sells her prized car, "El Blanquito," and events begin to unfold in unpredictable ways.

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Julia is a hairdresser, owner of a remisería, who goes out on a Sunday picnic with her family. The day does not propose anything different from her predictable daily life: the husband protests, the teenage daughter reads dance magazines and the son will be absent.

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A reworking of Waiting for Godot where two losers (Coco and Peluca) are waiting in an amusement park abandoned to a former occasional boss (Godotti) who owes them a small amount of money.

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Raúl Perrone does not usually allow people to register his work. It represents an act of intimacy. However, Martín earns his trust and is allowed to take part in the shooting. Perrone's process of filmmaking becomes a testimony of both his role as a film director and a human being with his lights and shadows.

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Documentary that gathers the testimonies of more than twenty contemporary Argentine film directors. Through interviews, filmmakers from different generations and tendencies reflect on the craft of directing, creative difficulties, and the challenges of the local industry. The diversity of voices ranges from established figures to representatives of the new Argentine cinema, offering a panorama of the different ways of conceiving and practicing filmmaking.

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A trip of three friends to San Bernardo.

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Edgardo Cozarinsky was the Marqués of Sade for a couple of hours. It happened in a Raúl Perrone movie…

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I decided a long time ago not to do any more synopses of my films. I want people to arrive without knowing what they are going to watch. There won't be a trailer either – they're liars AND they never really reflect the spirit of the film. Thanks for understanding.

Open details →

Some time ago, I decided not to make any more synopsis of my films. I want people to arrive without knowing what they are going to see. There won't be a trailer either; they lie and never really reflect the spirit of the film. Thank you for understanding. RP

Open details →

Open details →

A portrait of five young workers from Ituzaingó during their summer vacation. The country's structural violence hangs like a dark cloud over them, and the sale of cocaine is a way to cope with the lack of employment and future prospects that have reduced their lives to mere survival. We see them mainly in a public park where they can play sports, listen to live music, or just hang out.

Open details →

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

Open details →