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New Argentine Cinema

New Argentine Cinema

We’re thrilled to unveil a wonderfully unruly series dedicated to the B-side of the so-called New Argentine Cinema. In the context of an unprecedented cinematic renovation lead by the groundbreaking work of now internationally revered auteurs such as Lisandro Alonso, Lucrecia Martel or Martin Rejtman, a group of young, extremely talented and fiercely independent filmmakers joined the revolution and took things even further by setting up their own new rules. Mostly part of El Pampero Cine, what has been described as Argentina’s most rebellious production company, these combatants reject the industrial infrastructure and embrace experimentation by pushing boundaries almost in every aspect of the moviemaking process, from funding to production to exhibition. Here’s a collection of fascinating, uncompromising, and utterly original films that defy all expectations, redefine “low-budget cinema”, and are certainly “100% Made in Argentina”.


Mariano Llinás Argentina, 2008

Clocking at 4 hours, Extraordinary Stories is an unashamedly overwhelming cinematic phenomenon, a strange artifact that brilliantly entwines myriads of narratives and a glorious celebration of storytelling. The film that made Llinas an international cinema hero.

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Mariano Llinás Argentina, 2002

If Argentina’s festival presence is so prominent, it’s largely due to El Pampero, a group of rebellious, innovative filmmakers that have redefined low-budget cinema. This gem, full of irony and humor, inaugurates their work.


Martín Shanly Argentina, 2014

A defiantly unsentimental rendition of the all too familiar coming-of-age scenario, Martín Shanly’s debut film sheds light on the many complications that await at the gates of adolescence. As with the rest of the Argentine New Wave, this is crafted with an entirely unique ecstasy for the cinema.


Alejo Moguillansky Argentina, 2009

A frenetic, existentialist action movie shot with lean agility and an eye for the absurd. A true fleet pleasure. The second film from the New Argentine cinema’s Alejo Moguillansky, also part of the El Pampero Cine company, and editor of Extraordinary Stories.


Laura Citarella, Verónica Llinás Argentina, 2015

Dog Lady finds in the outstanding performance of Verónica Llinás (also co-director) an enigmatic, quietly potent screen presence able to challenge the pillars of our society without need of words. One of El Pampero collective’s most recent triumphs.


Alejo Moguillansky, Fia-Stina Sandlund Argentina, 2014

Moguillansky—co-editing with Mariano Llinás, co-directing with Fia-Stina Sandlund, and writing with both!—leaps from The Parrot’s take on documentary-making into an even more undefinable mixture of genres, connecting moviemaking to treasure hunting, national history and politics.


Alejandro Fernández Mouján Argentina, 2015

This polemic on colonialism and its many victims honors the titular Damiana Kryygi, a young girl who suffered a tragic fate at the hands of settlers. A work at once apart from the New Argentine Cinema which precedes it while also sharing similar political ambitions.


Alejo Moguillansky Argentina, 2013

Moguillansky’s next feature after Castro (between which he edited a film by the great Matías Piñeiro), continues the director’s surprises, wittiness, and cheerfully off-kilter filmmaking approach willing to take risks and make jokes. Dance, love, a film within a film—this one knows few boundaries.