Duration: 72 minutes

Sunday 16th May, 5.00pm

Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 35′
L’Uomo meccanico, 1921. Dir. André Deed. 25′

Films synopsis

Pacific 231, 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Velocità, 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 35‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 25′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Admission: $ 6
auditorio@proa.org
More information >>

Conversations with Eduardo Grüner, Leandro Katz and Mariano Mestman
Screening of the documentary film “The Day You’ll Love Me” (1997. Dir. Leandro Katz. 30′)

Saturday, May 8th, 6.00 pm
Auditorium – Fundación Proa. Free entrance
More information >>

From May 9th, Sundays 5.00 pm

Accompanying The Universe of Futurism. 1909-1936 exhibition, Proa presents a Futurist Cinema series, that shows the diversity of disciplines experimented by the avant-garde Italian movement, to be held every Sunday from May, 9th at Proa’s auditorium.

auditorio@proa.org / info@proa.org
Admission: $6

May
Sunday 9, 5.00 pm
Come Cretinetti paga i debiti, 1910. Dir. André Deed. 6′
Come fu che l’ingordigia rovinò il Natale a Cretinetti. 1910.
Dir. André Deed. 6′
Amor Pedestre, 1914. Dir. Marcel Fabre. 10′
Das Stahltier, 1935. Dir. Willy Otto Zielke. 15′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 16, 5.00 pm
Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 12′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 23, 5.00 pm
Ballet mécanique, 1923. Dir. F. Léger y D. Murphy. 14′
Jeux des reflets et de la vitesse, 1933. Dir. H. Chomette. 6′
Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′

Sunday 30, 2.00 – 8.00 pm
Futurist Cinema Marathon

The Futurist Cinema

The Futurist Cinema Manifest, signed in 1916, proclaims the movement’s rejection towards both narrative and theatrical language: “The cinema is an autonomous art. The cinema must therefore never copy the stage. The cinema, being essentially visual, must above all fulfil the evolution of painting; detach itself from reality, from photography, from the graceful and solemn. It must become anti-graceful, deforming, impressionistic, synthetic, dynamic, free-wording.”

The series will include an extraordinary selection of films from the first decades of the 20th century.  They reveal the futurist artists´s will to disrupt and experiment through diverse disciplines. One of its most distinguished directors, Anton Giulio Bragaglia – also author of the book The New Argentinean theatre – will be present with one of the most relevant works in Cinema history: Thaïs (1916). André Deed (director of buffoon Cretinetti’ s saga) and Marcel Fabre’s Amor Pedestre (1914) will offer a unique outlook on the birth of experimental cinema. The programme will also include a synthesis on the post-war period with films such as Velocità (1930), Pacific 231 (1949) and Das Stahltier (1935), which deal with the exalting views of the modern city, industrial labour and the machine.

Films synopsis

Amor Pedestre (Love afoot), 1914. Dir. Marcel Fabre. 10′
Illustrates the story of an accidental love triangle from a peculiar point of view: the feet. During his morning walk, Robinet (main character played by Fabre himself) encounters a young girl and decides to court her. Despite her rejecting him, Robinet slips a note on his shoe imploring to meet him later on. Back home, the note slips out of her shoe and is found by her angry husband who decides to show up at the date to meet Robinet.

Ballet mécanique (Mechanic ballet), 1923. Dir. Fernand Léger and Dudley Murphy. 14 ‘
Is a caleidoscope of images paired up with an electric soundtrack. The film accounts for a constantly moving world dominated by mechanic and repetitive images combined with moments of solitude spent in a garden. A young girl swings in a garden; another girl smiles. The takes alternate rotating cylinders, turbines, and kitchen objects arranged in a concentric form. Over and over again, a woman climbs a flight of stairs carrying a bag over her shoulder. An art-deco figure appears, dancing.

Come Cretinetti paga i debiti (How Foolshead pays his debts), 1909. Dir. André Deed. 6’
Interpreted by director André Deed, Cretinetti (Foolshead) is the main character in a series of entertaining futurist short films; in which this buffoon sets himself to destroy everything that steps in his way. This time, Cretinetti is a compulsive debtor, persecuted by collectors that invade his apartment floor forcing him to pay his debts. The film focuses on Foolshead’ s adventures when he tries unsuccessfully to get rid of them and escape the law.

Come fu che l’ingordigia rovinò il Natale a Cretinetti (Foolshead’s Christmas), 1910. Dir. André Deed. 11’
In this take of André Deed’s comic saga, Cretinetti gets in trouble when he tries to post his Christmas party invitations in the mail. Because of him taking so long, a furious crowd waiting in line behind him calls the police to kick him out. Cretinetti purchases a tree to attack a public building and clumsily sets it on fire. He walks back to his house with the blazing tree where his family and friends await.

Das Stahltier (The Steel animal), 1935. Dir. Willy Otto Zielke. 15’
The railway workers wait outside for the factory doors to open and for another workday to begin. Inside, engineer Klaassen staid overnight working on some drafts for a new locomotive. As a result of the team’s hard work, the project comes together and Klaasen gets a promotion. Before leaving for his job, he meets up with his co-workers and has second thoughts regarding his decision. Their conversation revolves around the stories of the evolution of the railway industry and its pioneers.

Jeux des reflets et de la vitesse (Games on reflection and speed), 1933. Dir. Henri Chomette. 6’
Captures the impressions on the city of Paris; experimenting with light and movement through the camera lens.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 24′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Pacific 231 , 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′
Narrates the adventures of Bianca, a “femme fatale” that plays and uses his admirers to satisfy her whims and selfish purposes. The highlight of the film is the final scene: a tragic finale where the heroine is punished for her wrongdoings.

Velocità (Velocity), 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 12 ‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

Wednesday April 28th, 7:00 pm, at Fundación Proa’s Auditorium
Entrance free of charge. Limited capacity

In the context of The Universe of Futurism. 1909-1936 exhibition and as part of the related activities designed by Proa to document the reach that Italian Futurism has had in the diverse artistic disciplines, Giancarlo Schiaffini’s concert will explore the impact that Luigi Russolo’s Ruidisimo revolution has had on musical composition.

Inspired by the life and work of artist Umberto Boccioni, Schiffiani composes Ho veduto volare, with vocal works by Silvia Schiavoni. This distinguished composition is a synthesis of diverse languages in dialogue: writing, images, voices and the live performance of both musicians. The images are old photographs, paintings and fragments that reflect the thoughts of the movement-action present in Boccioni’s work.

The Futurist concert Ho veduto volare is the first in a series of events that will take place at Fundación Proa in relation to The Universe of Futurism. 1909-1936 exhibition. From May, Proa will present a programme of Futurist cinema and guided tours of the show conducted by Art specialists.

The performer
Giancarlo Schiaffini (Rome, 1942) is a music composer, trombone and tube player. He improvises and plays mainly contemporary music and jazz. He collaborated in different compositions with musicians such as John Cage, Karole Armitage, Luigi Nono and Giacinto Scelsi.

Organization and production
Istituto Italiano di Cultura de Buenos Aires

Information and reservations
auditorio@proa.org / [54 11] 4104 1000

More information on The Futurist Universe. 1909-1936 exhibition >>

The compilation of films will be shown in the auditorium during museum opening hours presenting an overview on the origins and developments of the Italian Futurism in order to enrich the public understanding of the period and the reach of the movement.

The repertoire includes: The Futurist Adventure (2010, developed by Rodrigo Alonso), La Metrópoli Futurista (2006, directed by Art Media Editori, Vincenzo Capalbo and Marilena Bertozzi), and Giannina Censi. Danzare il Futurismo (1997, directed by Elisa Vaccarino).

The videos are shown continuously in Proa´s Auditorium and accessible at the beginning or end of the exhibition.

The Futurist Adventure, 2010
Duration: 28 minutes
Development: Rodrigo Alonso
Edition: Santiago Recart and Fundación Proa

Art historian Rodrigo Alonso, specially produced the documentary for the current exhibition. With English subtitles, this complete informative panorama displays images and original recordings of the futurist artists, such as Filippo Tommaso Marinetti (“Battaglia”, 1924), and Carmelo Bene (“Contra Venezia Passatista”, 1910), and fragments of the film “Thaïs”, by Anton Giulio Bragaglia (1916).

La Metrópoli Futurista, 2006
Duration: 29 minutes
Idea and direction: Art Media Editori, Vicenzo Capalbo and Marilena Bertozzi
Production: Giubbe Rosse Eventi Culturali

A film that brings together a set of key twentieth century architectural projects in a virtual presentation of the futurist “New City”. The film offers 29 minutes of Futurists´ proposals on a new way of life, with an unconditional faith on technological progress and under the new rules of the emerging industrial society. The audience will have the opportunity of engaging in an architectonical utopia of the period, one never yet explored.

Giannina Censi. Danzare if Futurismo, 1997
Duration: 19 minutes
Idea and direction: Elisa Vaccarino
Archivo del 900, MART

Concluding the compilation of films, we present Giannina Censi. Danzare il Futurismo, depicting the life experiences of Giannina Censi, dancer and single futurist performer, able to express with her body and movements the spirit of Fillipo Tomasso Marinetti´s “parolibere” (freewords) and Enrico Prampolini´s “aeropitture” (aeropainting). For 19 minutes the film displays a rich systematic array of documents and photographic material of the time, a small professional and personal biography on Censi´s life with her personal comments and a warm interview. The video includes reconstructions of her performances, conducted by Censi´s students, in which the emblematic movements of aerodance, that interpret the flight of a plane and other actions inspired by machines of the twentieth century, that fascinated the futurists, are exemplified.

More information on the exhibition The Universe of Futurism. 1909 – 1936 >>

The Museum of Fine Arts, Houston presents the 5th edition of Latin Wave: New Films from Latin America, co-organized by Fundación Proa with the sponsorship of Tenaris and Ternium

From April, 29th at The Museum of Fine Arts, Houston
More information >>

On our 5th anniversary, Latin Wave proudly celebrates the extraordinary work and continuing vitality of cinema from Latin America, with eight films from Argentina, Brazil, Chile, Colombia, Mexico, Peru, and Uruguay, each of which will be shown in Houston for the first time. Don’t miss the opening night party in the Caroline Wiess Law building from 9:30 p.m.-Midnight on Thursday, April 29!

This year’s selection is largely characterized by its departure from the urban center, which has been at the heart of much Latin American cinema in past years. We travel this year to remote and magnificent natural settings, such as the Banco Chinchorro in Mexico, the second largest coral reef on the planet (in Alamar); the Chilean Siete Tazas National Park (in Turistas); La Barra, on the Pacific Coast of Colombia (in El vuelco del cangrejo); the scrubland of the Sertão in the northeast of Brazil (in Viajo porque preciso, volto porque te amo); a small fishing village on the northern coast of Peru (in Contracorriente); and from a small town in Argentina to Africa and back in a film of breathtaking scope, Historias extraordinarias. Despite its urban context, Jean Charles also represents a departure from the familiar “Latin” setting, focusing on the Brazilian immigrant community in London.

Continuing a Latin Wave tradition, a large number of this year’s selections are debuts by first-time filmmakers. Half of the program consists of operas primas, and the rest are by second- and third-time directors. All the films have competed at the most prestigious international film festivals, many with great success, including Gigante, which won multiple awards at the Berlin Film Festival. We are also particularly proud to welcome Marcelo Gomes, an alumnus from our first edition; he is back in Houston with his second film, Viajo porque preciso, volto porque te amo.

It is exhilarating to witness these filmmakers break boundaries—either through their choices of original and inspiring stories, or through their unique and provocative approaches to storytelling. We welcome you once again to a marathon four-day immersion in the best and the latest in Latin American cinema.

Monika Wagenberg, Festival Director

Martín Rejtman’s “Copacabana” had a great audience and press success consolidating Proa’s will to contribute in broadening Argentine independent cinema scene. The documentary tells the story of Bolivian community in Buenos Aires. The city becomes strange, unrecognizable and the climax of the film is reached at the choreography of the dances.

Last screening: Saturday 10th, April – 7:00 pm.

Information: auditorio@proa.org
General Admission: $10 / Students and retired $8
Limited seats
By telephone with American Express: [54.11] 4104.1000

©Martín Rejtman

Synopsis
Every year in mid October the Bolivian community in Buenos Aires celebrates its most important Patronal festivity: the party of Nuestra Señora de Copacabana. Groups from all over the country, some even arriving from Bolivia, get together in the Buenos Aires neighborhood of Charrua for a big parade, in a celebration that transcends religion.

Press releases:

“Copacabana” de Rejtman, nuevas funciones
http://www.demasiadocine.com/agenda/copacabana-de-rejtman-nuevas-funciones/

Nuevas funciones de Copacabana en Fundación Proa
http://ar.news.yahoo.com/s/17022010/40/n-entertain-presentan-malba-sexta-edicion-quot.html

Martín Rejtman: “Nunca me corrí del lugar de observador
http://www.lacapital.com.ar/ed_senales/2010/2/edicion_70/contenidos/noticia_5031.html

Copacabana, un documental con la impronta de Martín Rejtman
http://uol.elargentino.com/nota-77122-seccion-114-Copacabana-un-documental-con-la-impronta-de-Martin-Rejtman.html

Copacabana
http://www.leedor.com/notas/3411—copacabana.html

Hoja de ruta
http://www.estoesunbingo.com.ar/2010/02/copacabana/

Se agregaron nuevas funciones para ver el documental Copacabana
http://www.buenosairesladob.com.ar/?p=4494

Cuando Rejtman se asoma
http://www.subjetiva.com.ar/subjetiva/view_article.php?id=2158

Hago mal a los artistas
http://asieslavanguardia.blogspot.com/

Argentina: Película Copacabana sobre comunidad boliviana
http://la-opinion-argentina.blogspot.com/2010/01/argentina-pelicula-copacabana-sobre.html

Se proyecta Copacabana de Martín Rejtman
http://weblogs.clarin.com/agenda-n/archives/2010/01/se_proyecta_copacabana_de_martin_rejtman.html

El documental de Martín Rejtman sobre la fiesta patronal de la comunidad boliviana en Argentina
http://cine.argentina.ar/contenidos/127-Copacabana/

Copacabana, una película de Martín Rejtman en la Fundación Proa
http://revistaarchivosdelsur.blogspot.com/2010/01/copacabana-una-pelicula-de-martin.html

New Argentina Cinema
http://www.drclas.harvard.edu/revistaweb/its_film/aguilar

Fuera de todas las convenciones
http://www.clarin.com/diario/2010/01/22/espectaculos/c-02124668.htm

Martín Rejtman estrena hoy su primer documental

Con Rapado, Silvia Prieto y Los guantes mágicos, Martín Rejtman se transformó en uno de los directores más importantes del cine argentino
http://www.revistadebate.com.ar/2010/01/22/2597.php

Copacabana, lo nuevo de Martín Rejtman

http://www.cinelatinoamericano.org/texto.aspx?cod=8425

Festividad boliviana en imágenes
http://www.culturar.com/notas.php?id=2409&PHPSESSID=5700779214e67706f8d513c5d207fe29

Martín Rejtman cuenta cómo hizo “Copacabana”
http://lentecreativo.wordpress.com/2010/01/25/martin-rejtman-cuenta-como-hizo-copacabana/

Distante como el altiplano

http://www.escribiendocine.com/criticas/distante-como-el-altiplano

El extraño recorrido del film Copacabana
http://www.lanacion.com.ar/nota.asp?nota_id=1224928

Cine: Entrevista al cineasta Martín Rejtman
http://www.pagina12.com.ar/diario/suplementos/espectaculos/5-16733-2010-01-23.html

Ciclo: Estreno exclusivo del documental “Copacabana”, de Martín Rejtman
http://www.elreverso.com.ar/index.php?campo=ciclo&valor=2784

Copacabana
http://www.variety.com/review/VE1117934098.html?categoryid=31&cs=1

“Copacabana”, de Martín Rejtman
http://www.wipe.com.ar/agenda/detalle/28528/2010-01-30

Copacabana, de Martín Rejtman

http://www.otroscines.com/criticas_detalle.php?idnota=3757

3 preguntas. Martín Rejtman
http://www.losinrockuptibles.com/alocables.htm

Entrevista a Martin Rejtman. A propósito de Copacabana
http://lafuga.cl/entrevista-a-martin-rejtman/39

Las estéticopoliticas
http://lafuga.cl/las-esteticopoliticas/37

Cine Argentino 2010: Todos los estrenos del año
http://www.escribiendocine.com/noticias/cine-argentino-2010-todos-los-estrenos-del-ano

Copacabana, lo nuevo de Martín Rejtman
http://observadorglobal.com/momentos-revelados-n4967.html

Informe Especial: Todo los Estrenos de Cine en 2010
http://cubaout.wordpress.com/2010/01/08/informe-especial-todo-los-estrenos-de-cine-en-2010/

Un verano de película

http://www.lanacion.com.ar/nota.asp?nota_id=1216339

Lo que vendrá
http://www.revista-noticias.com.ar/comun/notaseccion.php?ed=1722&art=1064

Copacabana, filme sobre fiesta boliviana, debuta en Argentina
http://www.laprensa.com.bo/noticias/03-01-10/noticias.php?nota=03_01_10_cult1.php

Estreno “Copacabana”, de Martín Rejtman
http://cineconmcfly.com.ar/2009/12/estreno-copacabana-de-martin-rejtman.html

El cine resistió con el cuchillo entre los dientes
http://www.criticadigital.com.ar/index.php?secc=nota&nid=35236

Informe Especial: Todo los Estrenos de Cine en 2010
http://www.escribiendocine.com/articulos/informe-especial-todo-los-estrenos-de-cine-en-2010

COPACABANA, de Martín Rejtman. LA MAGIA DE TUS BAILES
http://www.leercine.com.ar/nota.asp?id=230

Copacabana
http://www.revistawatt.com.ar/webs/agenda/8

Copacabana, de Martin Rejtman, se estrena en Fundacion PROA
http://ahoracine.com.ar/blog/2010/01/copacabana-de-martin-rejtman-se-estrena-en-fundacion-proa/

On the director

Martin Rejtman was born in Buenos Aires in 1961 and studied cinema in the New York University (NYU). Then worked as a assistant of assembly in Cinecittá, Italy. Its feature films are “Rapado” (1992), “Silvia Prieto” (1999) and “Los Guantes Mágicos” (2003). In the 2007 he finishes “Copacabana” and in the 2009 codirects with Federico León, “Entrenamiento elemental para actores”, TV movie premiered commercially in El camarín de las musas in September of 2009.

Director Martín Rejtman created a universe with his fictions. You know it, you’ve seen it (if not, you should know you’re missing out on something). Now then, the world, such as it is out there (far away from screenplays), has just created a director: the Rejtman who, with Copacabana – his debut in the field of documentaries-, gives us not only the most luminous Argentine film in a long time, but also a new version of himself, in which his usual powers of observation return, but hand in hand with extraordinary freedom, warmth and joy. Rejtman, combining modesty and fascination, tells a happy tale with a sad ending, or a story which, while unable to reach complete happiness, offers countless wonder-moments of those that deserve to happen in front of a camera; tells of the Bolivian community in Buenos Aires and the festivities of Our Lady of Copacabana, and manages to carry the spirit of the prodigious scene of the dance under the rain in Shara (Kawase Naomi) to a fifty-five minute running time. Marcelo Panozzo

On his work

Fragments of the book “Martin Rejtman: the waning movies”, by David Oubiña:

“Before it existed the ‘new Argentine cinema, “Rapado” existed;. (….) Although it was not conceived as the manifesto of a new movies movement, that debut was -in definition of its director- ‘a militant movie’ that denounced with all that the movies of the 80´s ignored.

Which was the news of this movie? It would be able to summarize: Rapado takes the plot motive of Thieves of bicycles (the famous film of Vittorio de Sica), but that is only a pretext because the sobriety of its style it’s been learned in the films of Ozu and Bresson. Rejtman said: ‘My movies do not present a problems, the movies are the problem’. In both works, each element is despoiled of the value that had before entering to the universe of the film, where it will be assigned a new function and will establish new relations.

“Si Doli regresa a casa” and “Rapado” present a cut with the previous movies at the same time that establishes the bases of a poetics, “Silvia Prieto” and “Los Guantes Mágicos” suppose an inflection that is so much a deepening as a development of that program. The sever narrative of the first one Rejtman is channeled finally in a form of desolate comedy.

In “Silvia Prieto” and “Los guantes mágicos”, Rejtman works with a microcosm of characters that reappear, from a minimum of situations circulate of as unstoppable as impassive way. The differences, in every case, are in the order of the excess. Los Guantes Mágicos irritates the style of the previous film: is more openly choir, more extravagant, more scatterbrained and, also, more inconsolable.

In its perfect rationality and in its luminous order, these films constitute a utopian community, as if they were small films whose mission would not be to reproduce our world, but to denounce it as a coarse copy. The people, the places and the things, enter new relations and return more surprising exactly there where they turn out to be recognizable.”

List of credits

Direction: Martin Rejtman
Produced by: Ruda Cine and Martin Rejtman
Associated producer: Alta Definición Argentina
Producing: Violet Bava, Rosa Martínez Rivero and Martin Rejtman
Executive production: Rosa Martínez Rivero
Photography and Camera: Diego Poleri
Sound: Jessica Suarez and Javier Farina
Assembly: Martin Mainoli
Investigation: Nico Chausovsky
Assistance of production: Iván Eibuszyc
Graphic design: Germán Ruiz
Duration: 56 minutes – Argentina, 2007

Last screening: Saturday 13th, March – 4:00 pm

Fundación Proa  will screen the film India Song (1975, 120 min.), written and directed by Marguerite Duras, in its original 16 mm format.

Marguerite Duras, India Song

Reviewed by the critics as her ‘most personal work’, India Song recreates the tragic love stories of Anne-Marie Stretter, the French ambassador’s wife, in 1930′s Colonial India. Four voices narrate the relations between Anne-Marie and her lovers, followed by her dramatic suicide in the Indian Ocean.
Published for the first time in 1973, India Song also became one of Duras’ most celebrated play.

The show will coincide with Alejandro Cesarco’s video-installation Marguerite Duras’ India Song. The conceptual artist’s remake presents a contemporary perspective on the film (more information on Alejandro Cesarco’s exhibition).

Information: auditorio@proa.org
General Admission: $6

With the support of the Embassy of France in Argentina

In the Framework of:

TRANSLATION AS A SYSTEM OF LITERARY CIRCULATION
Conference for the Susan Sontag Award

Films that Proa will proyected in the cinema cycle in days and time to be confirmed:

Duet for Cannibals (1969)
Duración: 105 minutos

Duet for Cannibals is a story about psychological, sexual and emotional canibalism. The film tells a tale of two couples involved in academia and politics. Artur Bauer is a university professor living in exile in Sweden with his enigmatic wife Francesca. He hires young Tomas, ostensibly to help arrange his papers for publication. After leaving his mistress to live with the couple and take the position, Tomas quickly discovers that things are not quite right with the dysfunctional pair. The late New York Times critic Vincent Canby described Duet as “intriguing, surprising, witty and sinister to the end.”

Brother Carl (1971)
Duración: 97 minutos

Brother Carl  is about human relations: it features an odd quartet of characters whose efforts to communicate are thwarted by blatantly self-destructive impulses. Two women, Karen and Lena, visit a Swedish island resort where Lena’s ex-husband Martin lives in comparative seclusion with a mentally disturbed dancer named Carl. Martin has become Carl’s caretaker as well as his nemesis, since Carl seems to blame him for his crackup. Lena is a vibrant young woman who selflessly offers her life first to the brooding Karen, then Martin, and finally to Carl.

Promised Lands (1974)
Duración: 87 minutos

Promised Lands, Susan Sontag’s third film, was shot in Israel during the final days and the immediate aftermath of the 1973 Yom Kippur War. In this photographic essay, Sontag meditates on the current (1974) situation of the country and its people as well as her feelings about Israel and its future. Despite its personal nature, the film is largely understood as a documentary.

Unguided Tour (1983)
Duración: 71 minutos

Unguided Tour, Susan Sontag’s fourth and final film, was based on her short story of the same title. Also known as “Letter from Venice,” the film features Lucinda Childs and Claudio Cassinelli and tells of a relationship that is fragmenting as they tour the decaying ruins of a hallucinatory Venice.

On Thursday 5, Friday 6 of November, Fundación Typa with the support of Fundación Proa, will present a cycle of Conferencesorganized in conjunction with the Susan Sontag Prize.

CONFERENCE SCHEDULE

•    THURSDAY NOVEMBER 5TH

15 a 15:15 hs
Opening

15:15 a 17:30 hs
Round Table: Can Juan José Saer be translated?
Speakers: Roanne Sharp, Miguel Dalmaroni, Alberto Díaz, María Teresa Gramuglio, David Oubiña.
Coordinator: Raquel Garzón

17:30 a 18 hs
Break – coffee

18:00 a 19:20hs
Screening: Portrait of Juan José Saer (80´/Argentina/1996).
Script and Direction: Rafael Filippelli.

•    FRIDAY NOVEMBER 6TH

15 a 17 hs
Round Table: Translation as a connection: a look at the state of translation between Spanish and English
Speakers: David Rieff, Gabriela Adamo, Marietta Gargatagli, Anna Kazumi Stahl
Coordinator: Ezequiel Martínez

17 a 17:30hs
Break – coffee

17:30 a 19:00hs
Round Table: About Susan Sontag
Speakers:  Anne Jump, Edgardo Cozarinsky, Graciela Speranza
Coordinator: Verónica Chiaravalli

19:00hs
Award Presentation