Víctor Cruz

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Collective film made in times of confinement. April 2020. The film gives visual form to inner worlds—what the directors see and how they see it. How they inhabit their spaces, their bodies, their fears and perspectives in isolation, and how they connect with the “outside worlds.”

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In Costa Rica, Panchita has just turned 109 and hopes for a visit from two of her children: Pablo, 93 years old, and Calixto, 88 years old. Sarita, who is 93, has no hesitation in confessing her love for Denis, a young policeman. Pachito’s daughter, fearing that something may happen to her 98-year-old father, tries to prohibit him from continuing horse-riding. In Sardinia, for his 93rd birthday, Adolfo wants to fulfil his dream of flying a plane. In Okinawa, Tomi, 93 years old, cannot recover from the death of her first son. Her friend Haru, who is 98, encourages her to return to the pop group formed of the island’s grandmothers.

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The Pursuer is a psychological thriller that tells the transformation suffered by a elderly rich couple when a mysterious man breaks into their house. Soon they will discover that the Pursuer not only puts their lives in danger, but He also threatens to reveal their most intimate secrets.

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The film tells how in 1970 a group of Argentine filmmakers - including Alberto Fischerman, Rafael Filippelli, Julio Ludueña, Miguel Bejo, Jorge Cedrón, Dody Scheuer and Luis Zanger - decided to make a short film each in one night. The occasion is perfect to describe the atmosphere of the '70s, the fever in which militants and publicists lived, the clash between art and politics. Includes fragments of the films The Players vs. Ángeles Caídos (Fischerman, 1969), Shadows (John Cassavetes, 1959), Made in U.S.A. (Jean-Luc Godard, 1966), L'eclisse (Michelangelo Antonioni, 1962), The Hour of the Furnaces (Pino Solanas & Octavio Getino, 1968), Tire dié (Fernando Birri, 1960), Alianza para el progreso (Ludueña, 1971), La civilización está haciendo masa y no deja oír (Ludueña, 1974) and La pieza de Franz (Fischerman, 1974).

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After Jay Leno's second retirement from the program, Jimmy Fallon stepped in as his permanent replacement. After 42 years in Los Angeles the program was brought back to New York.

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“Prepotencia de trabajo” is a film about people who make films, made by people who make them, by people who teach how to make them and by people who are learning how to make them. And it's also a movie about his movies, about how those people learned and how he managed to make them. And it is also a film about the Mar del Plata Festival as seen by these people, about the possibilities it offers them, and also about the UBA's Image and Sound Design career, where all these filmmakers came from.

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In Costa Rica, Panchita has just turned 109 and hopes for a visit from two of her children: Pablo, 93 years old, and Calixto, 88 years old. Sarita, who is 93, has no hesitation in confessing her love for Denis, a young policeman. Pachito’s daughter, fearing that something may happen to her 98-year-old father, tries to prohibit him from continuing horse-riding. In Sardinia, for his 93rd birthday, Adolfo wants to fulfil his dream of flying a plane. In Okinawa, Tomi, 93 years old, cannot recover from the death of her first son. Her friend Haru, who is 98, encourages her to return to the pop group formed of the island’s grandmothers.

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The "pasamanos" are a group of young people who transport backpacks with illegal contents from the capital to the suburbs of Buenos Aires. Paula is a "pasamanos" but she is reluctant to let her brother follow in her footsteps.

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The Pursuer is a psychological thriller that tells the transformation suffered by a elderly rich couple when a mysterious man breaks into their house. Soon they will discover that the Pursuer not only puts their lives in danger, but He also threatens to reveal their most intimate secrets.

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The film tells how in 1970 a group of Argentine filmmakers - including Alberto Fischerman, Rafael Filippelli, Julio Ludueña, Miguel Bejo, Jorge Cedrón, Dody Scheuer and Luis Zanger - decided to make a short film each in one night. The occasion is perfect to describe the atmosphere of the '70s, the fever in which militants and publicists lived, the clash between art and politics. Includes fragments of the films The Players vs. Ángeles Caídos (Fischerman, 1969), Shadows (John Cassavetes, 1959), Made in U.S.A. (Jean-Luc Godard, 1966), L'eclisse (Michelangelo Antonioni, 1962), The Hour of the Furnaces (Pino Solanas & Octavio Getino, 1968), Tire dié (Fernando Birri, 1960), Alianza para el progreso (Ludueña, 1971), La civilización está haciendo masa y no deja oír (Ludueña, 1974) and La pieza de Franz (Fischerman, 1974).

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