The film library dedicates a retrospective to Albertina Carri, Essential figure of contemporary Argentine cinema that in 2009 He received the Valencia Moon Award from the Cinema Jove Festival. Carri returns to the Filmoteca on Monday 7 April to pre -release his last movie, White roses fall!, to which a colloquium will follow with the public. The previous day, sunday 6, We will also have his presence to present a book around his film La Rabia (Ed. Smuggling) next to her author, Michèle Soriano.
L’enclèctica filmography of Carri reveals a filmmaker at Constant Recerca. There is no brand in his movies, a common style; She herself is defined as a "mutant" author, he has felt the need to address different issues and genres in each of his works. Maybe this is precisely what defines Albertina's cinema: the curiosity, interrogation around images and their ability to reveal what is hidden, invisible o, rather, invisible. Related to this, The other main feature of his work is, certainly, their political imprint, the desire to intervene in social reality representing the irrepresentable, either the missing ones of the Argentine dictatorship, Naturalized violence in rural areas or non -normative sex -affective bodies and relationships.
Los Rubios is a great movie about memory (staff and historical), converted into an object of worship and study inside and out of his country. This is a heterodox first -person trial that documents a wound and a search: the one of the facts that surrounded the disappearance of the filmmaker's parents, murdered by the military of the Argentine dictatorship when she was three years old. The theme of memory is also present in Vuelta's short, filmed a year after, and in the movies Restos and Cuatros. The last two present a research on lost films in which phylmic archeology and political archeology overlap.
Although its two following feature films, GEMISIS I RABIA, are located in very different environments, both dissect families or small communities crossed by secrets and currents of underground violence. In the first, the violence, subtle but oppressive, is the order of the urban bourgeois family. In rage this is instinctive violence, animal, telluric.
In recent years, Carri has opted to film utopias from the margins. The daughters of fire, best movie in the edition of 2018 of the BAFICI, is his approach to porn from a feminist look, polyamorous the queer. A journey that ends up becoming an exploration of the diversity of bodies and lesbian fantasies. Recently released at the Rotterdam Festival, White roses fall! It is a fortunate of sequel to the Hijas del Fuego that also starts from the Road Movie to mutate in another movie. On this occasion the filmmaker does not resort to the postporno but the fantastic genre to assert that other images and other stories are possible. In an increasingly dystopian reality, in which the mere fact of imagining other systems and other ways to relate seems to have been reduced to the absurd, Albertina Carri's artistic gesture is rabidly brave and radically inspiring.
16.04.25 WEDNESDAY / 20.00 h
17.04.25 THURSDAY / 18.00 h
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Albertina Carri. Argentina. 2004. Color. 6′. Digital.
Margarita i el seu pare van a uns cavallets. A mesura que comença a donar voltes muntada en el seu corser de plàstic, Margarita comença a tornar en el temps fins a trobar-se amb un episodi cru i terrible en la història seua i del seu pare.
The blondes
Albertina Carri. Argentina, USA. 2003. Color. 89′. DCP.
Int. Analía Couceyro.
Als tres anys, Albertina Carri va perdre els seus pares, desapareguts i assassinats per la dictadura argentina. En Los rubios, la cineasta recorre Buenos Aires amb la seua càmera per a desentranyar el misteri dels fets i de les emocions deslligades per la seua desaparició. Un assaig imprescindible sobre els mecanismes de la memòria, construït a partir de fragments, fantasies, relats i fotografies.
