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Adiós, abuelo

Juan Benatti, a tango singer in a typical quartet, is left in charge of five-year-old Ignacio, the son of the group's director, Horacio, and Marisa, when his parents are forced into exile for political reasons. Ignacio calls Juan "grandfather" and becomes a father to him. Horacio dies abroad; his mother remarries and demands the boy. But since he doesn't get along with his mother's new partner, custody finally falls to Juan, who raises the boy until he graduates from high school. He then turns down university to become a musician in a rock group, where he will be the voice and host.

Adiós, abuelo

9.0 1996
Bispos

In the Achromatic World, forgotten desires, ambitions, and dreams from our own reality take shape and walk the earth. It is a realm without color, composed solely of light and shadow, where fractured figures inhabit ruined stone temples flooded with sunlight. Within one of these temples lives Torre, a female presence akin to a dark virgin cast in bronze. She yearns for materials with which to complete her colorless paintings. Her apprentice, Ave, offers to journey to the river in search of them, now that the rain has ceased. Thus, Ave sets out on the pilgrimage.

Bispos

NR N/A
La celosía

The film is the book and at the same time it is not. The transposition of the work on paper to the screen is, in this case, the occupation of the conceptual artist Isidoro Valcárcel Medina. Through on-screen texts and a succession of voices that read different passages, Medina presents the filmic adaptation of Alain Robbe-Grillet's book. The novel is a tremendously optical reading of objects and landscapes made by a jealous husband who deforms and subjectivizes reality. The film objectifies the texts in the same way by putting them as they are on the screen, but so is the reading of free texts and languages ​​and associations. As the poster that the artist himself made says: “In 1957 Alain Robbe-Grillet published La Celosía. In 1972 Isidoro Valcárcel has taken it to the cinema.” A film that is an exercise on dissociation and the duration of the shot.

La celosía

7.0 1972