Wildness (2012 ) is a documentary that captures the creativity and conflict born of an unlikely but significant alliance vanguard artists and performers with Latino immigrants transgender community. Everything happens in the Silver Platter, a historic gay bar in Los Angeles since 1963 is an important safeguard for space trans youth migrating from Mexico and Central America.

A story about resistance, contemporary art and dance music. In three acts, the film traces the rise and fall of the club, the explanatory relations between young artists , bar owners and the community of transgender women. Wildness – critically – celebrated creativity, nightlife, ethnicity, class, gentrification and social movements, ultimately, an examination of the political party .

Wu Tsang is a filmmaker, artist and performer. His projects have been presented at the Tate Modern (London), the Whitney Museum, the Museum of Modern Art and the New (New York ) Museum , ICA (Philadelphia) , MOCA and REDCAT (Los Angeles) . In 2012 , she participated in the Whitney Biennial and Three (New York ) Museum , Gwangju Biennale (South Korea) , and Liverpool Biennial (UK) .

Trailer

FUNCTIONS
Thursday, 10 April: Frank Henenlotter
17 hours. Frankenhooker (1990)
19 hours. Master Class by Frank Henenlotter. Moderator: Axel Kuschevatzky.

Saturday, April 12: New Romanian Cinema: Tudor Giurgiu
17 hours. Everybody in our family (2012), Radu Jude – tickets available only BOW -
19 hs.Of snails and men (2012), Tudor Giurgiu, with the presence of the director.

Sunday, April 13: New Romanian Cinema: Tudor Giurgiu
17 hours. I’m and old communist hag (2013), Stere Gulea
19 hs.Of snails and men (2012), Tudor Giurgiu (2012), with the presence of the director.

Press Kit

Frank Henenlotter

This time, Proa will host celebrated American director Frank Henenlotter cult. Master Class B horror film, directed classic movies of the genre, as the saga Basket Case (1982, 1990 and 1991) Brain Damage (1988). This year, Bafici dedicated a complete retrospective of his work, a series of blown, hilarious and terrifying films.

On Thursday, April 10, at 17 pm., May be Frankenhooker (1990) A bizarre rewriting of Frankenstein is considered his most successful film. After the screening, moderated by Axel Kuschevatzky, the director will provide a Master Class for the audience.

New Romanian Cinema: Tudor Giurgiu

On Saturday 12 and Sunday, April 13 will be the turn of the New Romanian Cinema. A 17 pm. can be seen that two recent productions filmography: Everybody in our family, and I’m Radu Jude and old communist hag, Stere Gulea.

Both days, at 19 pm, with the presence of its director Tudor Giurgiu, will present Of snails and men, a portrait of the nineties in Romania noted filmmaker, also creator of Transylvania Film Festival and one of the leading names held renovation of Romanian cinema.

Frankenhooker (1990 ) , De Frank Henenlotter .

SYNOPSIS After an accident with a lawn mower , Elizabeth Shelley literally transforms into a puzzle which some pieces disappear. His feverish boyfriend, Jeffrey Franken, keeps with devotion, determined to restore life . In a friendly session self trepanation ( !), The idea appears clear: a selection of pieces, involuntary courtesy of Fox, the ” pimp ” in turn, serve to reassemble his beloved. Although , yes , it may fail …

Besides being probably his best film , Frankenhooker is the highest point in the silent and passionate quest to achieve the perfect Henenlotter film exploitation , without missing a single element: the sex as the main axis, the nocturnal underworld a mad scientist who reevaluates his dubious morality , visual violence, bad jokes , exploding bodies , porn stars , cameos of worship, and so on . An unforgettable fable uncontrolled , with the best of the bad taste. (Source : Pablo Conde, BAFICI)

BIOGRAPHY Frank Henenlotter . Born in 1950. Writer , director and film historian . Despite being known for his horror comedies , he prefers to be classified as a genre filmmaker ” explotaiton ” . “I never felt I was doing horror movies. I always felt it was ` films ` exploitation ( exploitation films ) . The ‘ exploitation films ‘ have more attitude than anything else, an attitude that is not in the mainstream Hollywood productions. They’re a little ruder , a little lewd, they deal with material people do not usually play either sex drugs or rock and roll . “

Films Henenlotter are inspired by the films exploitation and sexploitation I loved watching as a kid , the kind of films which were projected on 42nd Street in New York during the 60s and 70s. Their films , low budget and full of gore and special effects , were considered by many B-movie best known are The Basket Case , Brain Damage and Frankenhooker .

ENLACES DE PRENSA

Mondo Bizarro, por Mariano Kairuz (Radar – Página 12)
Exploitation: An Interview with Frank Henenlotter, por Alan Bett (The Skinny)
A fist in the face of god meets… frank henenlotter, por Dylan Hughes (Vice)
Is Frank Henenlotter a horror genius or a sick man?, por Simon Abrams (Indiewire)

OF SNAILS AND MEN (2012), TUDOR GIURGIU
(Of Snails and Men )

SYNOPSIS A group of desperate workers comes up with the crazy idea of donating sperm to save his car factory from bankruptcy and therefore it is privatized . The official story is that some French investors are going to take the floor and become a factory of canned snails. But the hard truth is that the plan is to sell the huge machines for a lot of money and disappear . What follows is a hilarious ending crusade leaving no room for dreams . Which is ironic because, in the early nineties and having just come out of Communist rule , Romanians believed that anything was possible. This bittersweet comedy with several points in common with The Full Monty is based on a true story of that era, at the exact moment the King of Pop visited Romania , made a huge show and never returned , which implies the absence of an American Dream feasible to support the faith of those who tried to succeed in those years. (Source: Lincoln Center Film Library – http://www.filmlinc.com/films/on-sale/of-snails-and-men )

BIOGRAPHY Tudor Giurgiu born in 1972 in Cluj- Napoca , Romania, and graduated from the Film Academy of Bucharest in 1995. Worked as first assistant director directors like Lucian Pintilie and Mihaileanu . He founded and directs the International Film Festival of Transylvania. Member of the European Film Academy from 2005 to 2007 was the director general of the Romanian national TV . His first feature, Love Sick ( 2006) , was selected for the Berlinale Panorama section in 2006 and received numerous awards in international festivals.

His second feature , Of Snails and Men , was the highest grossing film in Romania in 2012 and won the Special Jury Prize at the International Film Fesival Warsaw ( Poland) , Best Picture of the Meeting Point section of the Festival of Valladolid and Best Film at SEE Film Festival of Los Angeles (U.S.) .

ENLACES DE PRENSA
¿Será este el tan esperado éxito de taquilla rumano?, por Stefan Dobroiu (Cineuropa Film Focus)
Entrevista con Tudor Giurgiu: “Rumanía es un territorio extraño”,por Stefan Dobroiu (Cineuropa Film Focus)
Of Snails and Men: Film Review, por Neil Young (The Hollywood Reporter)

I‘ M COMMUNIST AND OLD HAG (2013 ) , DE STERE Gulea

SYNOPSIS Starring Luminita Gheorghiu (Child ‘s Pose) , Stere Gulea film (Weekend with My Mother ) tells the story of Emilia , a woman of 60 who lives alone with her husband Tucu , in a small town . The couple is happy to receive a call from Canada: her daughter , Alice, go to visit with Alan , her American fiance. Things could not be better for Emilia , who hopes to enjoy the happiness of the young couple. Furthermore, Emilia, famous in the neighborhood for his communist nostalgia, they asked to be part of a documentary about the extensive festivities held on August 23 , prior to the Revolution of ’89 national holiday. The family reunion gets complicated when questions about memory and history demand answers . Adaptation of the novel published in 2007 by author Dan Lungu .

BIOGRAPHY Stere Gulea born in Constanta , Romania, in 1943 he directed the feature film The Green Grass of Home ( 1978) , Castle of the Carpathians (1981 ) , The Bear’s Eye ( 1983) , The Moromete Family (1988 ) – . Their work better known – Fox – Hunter (1993) State of Things (1996 ) , Weekend with My Mother ( 2009) , Roots (2013 ) and the documentary University Square – Romania (1991 ) .

EVERYBODY IN OUR FAMILY ( 2012) , Radu Jude

SYNOPSIS Marius wakes up in his apartment. There seems to be a great awakening . From there it goes to their parents , there seems to be great harmony. But Marius shorts as a child will be nothing compared to what is to come : the arrival of his former home Marius looking for Sofia , his daughter, who lives with his ex-wife, his mother and ex boyfriend of his ex-wife. The intention is to bring Marius Sofia the sea. But sometimes plans collide with the relationships between people. Everybody in Our Family is a film that builds tension to levels (such as nervous laughter ) that are usually associated only with a few thrillers or police . Well , strictly speaking, this is a familiar suspense film , and if the director Radu Jude manages to build tension and never lose your stake is nothing arbitrary, real time, fluid handling spaces, capacity their actors to play the most difficult and the household , these apparent heights of contemporary Romanian cinema capacity for starkest fights everyday realism . (BAFICI – 2012 )

AWARDS

2012: Sarajevo Film Festival , The Heart of Sarajevo Award for Best Film
2012: CinEast , Grand Prix CinEast
2012: Anonimul film festival, Grand prix award for best feature film

BIOGRAPHY Radu Jude was born in Bucharest , Romania, in 1977. Graduated as filmmaker Media at the University of Bucharest. He directed the short Wrestling (2003 ) , The Black Sea (2004 ) , The Tube with a Hat (2006 ) , In the Morning and Alexandra (both 2008), in addition to the feature film The Happiest Girl in the World (2009 , ’10 Bafici ) .

ENLACES DE PRENSA

Entrevista: “La relación entre niños y padres divorciados”, por Stefan Dobroiu (Cineuropa)
Everybody In Our Family, por Vladan Petkovic (Cineuropa)

With the support of the Romanian Embassy in Argentina

MASTERCLASS y ESTRENOS con la presencia del director
Viernes 18
11 hs - Masterclass con JP Sniadecki

Sábado 19
17.00 – “People’s Park” (estreno)
17.20 – Diálogo con JP Sniadecki

19.00 – “Yumen” (estreno)
20.10 – Diálogo con JP Sniadecki

Sábado 26
17.00 – “People’s Park”
19.00 – “Yumen”

Descargar Press Kit

Doc Buenos Aires y Fundación Proa presentan al antropólogo y cineasta John Paul Sniadecki, que estará presente en Proa para dictar una masterclass el viernes 18 y que comentará sus dos últimas películas, “People’s Park” y “Yumen”, el sábado 19.

Miembro del Sensory Etnography Lab de Harvard, Sniadecki se ha consolidado como uno de los cineastas más originales de la actualidad con películas que transitan los límites del género documental, desafiando sus convenciones y desarrollando nuevos formatos. “People’s Park” retrata un gigantesco y concurrido parque a través de un plano secuencia de 78 minutos y “Yumen”, un experimento audiovisual y narrativo que semeja más una ficción poética que un documental, explora las ruinas y los fantasmas de un pueblo petrolero abandonado. Ambos filmados en China, donde Sniadecki vivió durante los años en que hacía su doctorado, estos films buscan ampliar el vocabulario de la antropología visual.

Las películas se proyectan en el marco de la 13va edición del Doc Buenos Aires.

John Paul Sniadecki. "People's Park", 2012.

“PEOPLE’S PARK”
Una sola toma sumerge al espectador en un viaje sin ininterrupción por un famoso parque urbano de Chengdu, en la provincia de Sichuan. La película explora la variedad de modos, ritmos y comportamientos que conviven en estrecha proximidad dentro del espacio social del parque, captando parejas bailando el vals, cantantes de karaoke y el zumbido de las cigarras entre poderosos sicomoros que se yerguen hasta el cielo. People’s Park es una reflexión sensorial en tiempo y espacio cinematográficos que ofrece una mirada fresca a la interacción pública, el ocio y la auto-expresión en China.
En palabras de Shelly Kracier, programadora del Festival Internacional de Cine de Vancouver: “Una recreación documental de la realidad o mejor dicho una producción de algo súper real que estimula nuestra mirada comprensiva y participación exultante”.

Ficha técnica
China/Estados Unidos, 2013. 78 min.
Idiomas: sichuanés, chino mandarín
Directores: JP Sniadecki y Libbie D. Cohn
Asistente de producción: Ouyang Xiaodong
Posproducción de imagen: Julien Bisschop
Posproducción de sonido: Ernst Karel
Con el apoyo de Steve Burwell, Jeffrey Coomes y Zhang Jingqing, Obio Ntia, la familia Sandri Family, Joan Sniadecki, Brian y Letha Tawney, Harvard Film Studies Center, Sensory Ethnography Lab

Links
www.peoplesparkfilm.com
www.blogsandocs.com/?p=4754
www.kickstarter.com/projects/222886276/peoples-park-0
twitchfilm.com/2012/10/viff-2012-review-peoples-park-is-a-single-take-marvel.html

John Paul Sniadecki. "Yumen", 2013

“YUMEN”
Situada en un pueblo casi fantasmal, que alguna vez prosperó gracias al petróleo en el árido noroeste de China, “Yumen” es una atrapante y fragmentada historia de almas hambrientas, jóvenes impacientes, un artista errante y una mujer solitaria, todos en busca de una conexión humana en medio del paisaje desmoronado del pueblo. En parte “pornografía de la decadencia”, en parte “historia de fantasmas”, y filmada por completo en 16mm, esta cinta junta performances, gestualidad narrativa y realismo social no solo para jugar con las convenciones y desafiar los géneros, sino también para rendir homenaje a una cosmovisión y a un medio que se desvanecen.

Ficha técnica
China/Estados Unidos, 2013. 65 min.
Directores: J. P. Sniadecki, Huang Xiang y Xu Ruotao
Con: Chen Qi, Zhou Qian, Chen Xuehua, Huang Xiang, Xu Ruotao
Guión: Xu Ruotao, Yinyan
Fotografía: J.P. Sniadecki, Huang Xiang
Edición: Xu Ruotao, J.P. Sniadecki, Huang Xiang
Sonido: J.P. Sniadecki, Huang Xiang
Voces en off: Xu Ruotao, Chen Qi, Zhou Qian, Chen Xuehua
Edición de sonido: Ernst Karel
Producida en asociación con el Film Study Center de Harvard University

Links
artforum.com/film/id=39520
www.moma.org/visit/calendar/film_screenings/18245
www.ficunam.unam.mx/index.php/programacion/pelicula/yumen
mubi.com/notebook/posts/berlinale-2013-impressions-3

J. P. Sniadecki

SOBRE EL DIRECTOR
J.P. Sniadecki es cineasta y estudiante del Doctorado en Antropología de los Medios de Comunicación en la Universidad de Harvard, en el Sensory Ethnography Lab (SEL). El SEL es un lugar de experimentación dirigido por otro notable realizador, Lucien Castaing Taylor, de quien se han conocido en Buenos Aires, en el BAFICI, obras como “Sweetgrass” (2009) y “Leviathan” (2012). Este laboratorio se ha transformado en pocos años en una usina creativa de experiencias cinematográficas que atraviesan el cine, la investigación antropológica y el arte. El prestigioso festival de cine de Viena, la Viennale, le dedica por estos mismos días una retrospectiva completa a los trabajos del SEL, demostración del enorme interés cinematográfico que ha sabido despertar en poco tiempo. Desde el SEL, Sniadecki ha desplegado estos últimos años toda su obra. Sus películas se han proyectado en distintas partes del mundo y han recibido premios como el Joris Ivens, del festival Cinéma du Réel (Francia), por su documental Demolición (2008), que compitió en la sección oficial Punto de Vista 2010, o el Leopardo de Oro y el premio especial del jurado en el Festival de Cine de Locarno (Suiza) por “Foreign Parts”, codirigida con Véréna Paravel (Gran Premio Punto de Vista 2011).

Sniadecki es además el fundador y curador principal de Emergent Visions, un proyecto cinematográfico permanente en el que se exhiben películas independientes de la República Popular China. Las dos obras que presentamos este año, nos descubren nuevos aspectos de esa sociedad en la que Sniadecki ha posado sus ojos y su cámara.

Tickets only available online or  in puntos de venta del BAFICI.

For the third year, Proa hosts the BAFICI Film Festival -Buenos Aires Independent Film Festival- with the screening of “Three Sisters” (2012, 153 min.), the latest film by Wang Bing, one of the most prominent documentary maker of the contemporary cinema.

Synopsis
Winner of the award for Best Film at the Venice Biennale and DocLisboa in 2012 and the Fribourg International Film Fest in 2013, Three Sisters shows the life of a small and very poor family in the mountain valley of Yunnan, a remote region of rural China. There, three sisters of 10, 6 and 4 years living practically alone, accompanied only by a grandparent, an aunt and a father who has to be away for months on business. Despite the cold and absolute scarcity, the three built a silent brotherly bond that will provide shelter to a childhood plagued by loneliness and poverty.

Dijo la crítica
“Un triunfo del cine de observación, Three Sisters abre una ventana a un mundo desconocido, y transforma lo cotidiano en algo extrañamente mágico”.
Giovanna Fulvi – Toronto International Film Festival

“La obra de Wang Bing tiene una importancia capital”.
Roger Koza – Festival Internacional de Cine de la UNAM

“Three Sisters ofrece una mirada esclarecedora y profundamente humana sobre una familia pobre cuyas rudimentarias condiciones de vida son una réplica punzante a la ilusión del boom económico chino”.
Variety

“Wang Bing juega entre dos polos, la visión de una China antropológica y las texturas de los recuerdos, las imágenes del día a día de estos niños, un material totalmente cinematográfico”.
Alberto Moreno – Contrapicado

Three Sisters
China/France, 2012, 153 min.
Direction: Wang Bing
Direction of photography: Wang Bing, Huang Wenhai, Li Peifeng
Edition: Wang Bing, Adam Kerby
Sound: Fu Kang
Production: Mao Hui, Sylvie Faguer
Produced by Chinese Shadows, ALBUM Productions

About the director
Wang Bing was born in Shaanxi Province in China. He studied at the LuXun Art Academy in Shenyang  and the Beijing Film Academy. His first experience as a documentarist was “Tie Xi Qu: West of the Tracks” (2003), a nine hours feature film presented at the Toronto Film Festival and  internationaly acclaimed. His other achievements were “He Fengming: A Chinese Memoir” (2007), “A Journal of Crude Oil” (2008), “The Ditch” (2010) and “Three Sisters” (2012), his last film.

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In the centennial of John Cage’s birth, Fundación Proa participates in the celebrations organized in Buenos Aires by Teatro Colón / Colón Contemporáneo: The Tribute to John Cage in the 100th anniversary of his birth, coordinated by Martín Bauer, presents concerts, conferences, screenings and talks with the presence of international guests.

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From September 11 to 22, several activities will take place at Proa’s Auditorium as part of the Tribute’s programming: The International Symposium John Cage invites personalities from the arts and theory fields . The Concert 4’33′‘ presents the most celebrated work of John Cage, performed in this opportunity by Lucas Urdampilleta. And Proa Cine programs a series of documentaries and experimental films.

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Activities at Proa’s Auditorium:

International Symposium John Cage
Thursday, September 13 & Friday, September 14, 2012

Special guests: Branden W. Joseph, Henning Lohner, James Pritchett, Luis Chitarroni, Pablo Gianera, Hugo Petruschansky
Coordinator: Pablo Gianera

For further information and enrollment: coloquio@proa.org

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Concert: 4’33” Music for solo piano
Saturday, September 22

Sixty years after its release, Fundación Proa presents the most emblematic work of John Cage: 4’33´´. Performed by Lucas Urdampilleta.

Aug. 29. 1952 by John Cage
For piano by Christian Wolf
Extensions #3 by Morton Feldman
3 pieces for piano by Earle Brown
Premier Sonata by Pierre Boulez
5 Intermissions by Morton Feldman
For prepared piano by Christian Wolf
4 pieces by John Cage
4’33”
30”
2’23”
1’40”
The Banshee by Henry Cowell

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Proa Cine. Film program:
September 15-22

“John Cage” Dir. Klaus Wildenhahn (1965)
“one11 and 103″ Dir. Henning Lohner (1991-92)
“Chessfilnoise” Dir. Henning Lohner (1988)
“Cage/Cunningham” Dir. Elliot Caplan (1991)
“The Collaborators – Cage, Cunningham, Rauschenberg” Produced by KETC-TV (1987)
“Variations V” Dir. Stan Van der Beek (1965)

* The programming is subject to modification.
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Thanks to: John Cage Trust / Mode Records
In collaboration with: Teatro Colón/Colón Contemporáneo
Supported by: Tenaris

For more information and reservations, please contact auditorio@proa.org / +54 11 4104-1001

Press:

Download Press kit in English (pdf)

Ariel Magnus. Página 12 / Radar. 15.04.2012
Alejandro Lingenti. La Nación. 21.04.2012
Federico Lisica. Página 12. 21.04.2012
Juan Pablo Russo. Escribiendo Cine. April 2012
Quintín. Perfil / Cultura. 07.05.2012

Patience (After Sebald)
United Kingdom, 2011, 82 minutes
Filmed and Directed by Grant Gee
Edited by Jerry Chater, Grant Gee
Produced by Gareth Evans, Di Robson, Sarah Caddy

Featuring Tacita Dean / William Firebrace / Dan Gretton / Barbara Hui / Arthur Lubow / Robert Macfarlane / Christopher MacLehose / Jeremy Millar / Katie Mitchell / Rick Moody / Andrew Motion / Chris Petit / Adam Phillips / Iain Sinclair / Bill Swainson / Lise Patt / Marina Warner / Christopher Woodward

Synopsis
A richly textured essay film on landscape, art, history, life and loss, Patience (After Sebald) offers a unique exploration of the work of internationally acclaimed writer W.G. Max Sebald (1944 – 2001) via a walk through East Anglia tracking his most  influential book, The Rings of Saturn.
The much anticipated new feature by  the Grierson Award-winning Director of Joy Division, Patience… is the first film about Sebald internationally, marking ten years since the writer’s untimely death, and with contributions from major writers, artists and film-makers.

Notes towards a film. By Grant Gee
W.G. Sebald has, in the ten years since his sudden death in a car crash (14.12.2001), begun to exert an almost uncanny influence over contemporary art and writing. He’s become one of those rarest of writers: the adjectival author, in the shortest possible time. ‘Sebaldian’ has entered the language. I wanted to find out why this is, and trace his influence through the zeitgeist.

Both my previous major long-form works – Radiohead’s Meeting People Is Easy and Joy Division – as well as the recent short film The Western Lands, examined iconic contemporary artists in the context of the landscapes they inhabited, respectively the ‘non-places’ of international touring, the post-industrial wreckage of late 1970s Manchester and the lethal cliff faces of the Orkney Islands. These artists could not be understood fully without an understanding of the landscapes and locations they occupied. The dialogue between personality and place is thus central to my own artistic investigations.

Rarely has the idea and importance of place been more prominent in culture and thought than it is at the moment. There are many reasons for this, not least the effect of globalization, with its spread of ‘sameness’ and the subsequent alienation and lack of belonging people feel. As things are erased, so they become even more significant.

This destruction of ‘place’ is a kind of catastrophe in our imaginative lives. It doesn’t have to take the form of explicit environmental or topographic change. Perhaps even more pernicious is the long-term psychological effect. Sebald’s body of work is profoundly aware of this and offers the richest statement I have come across about the importance of attention to place and the histories it holds and has made.

Properly to honour the associative nature of the book and the themes discussed, the ‘essay film’, a ‘genre’ employed to great effect by the likes of Chris Marker, Harun Farocki, Patrick Keiller and Chris Petit, seems a very helpful and productive means to explore such material. Such a form allows for multiple tones and textures, essential when considering Sebald and place. It is also a personal form, not governed by pre-ordained structures and templates. I am extremely glad to have had the opportunity to work with this approach, and hope in a small way to have done justice, on film, to the remarkable work of this most important and influential writer.

Biography

Grant Gee is a prolific cinematographer and film-maker, best known for directing definitive studies of music and musicians. He has been Grammy-nominated twice, for Meeting People Is Easy – about Radiohead – in 2000 and Demon Days – about Gorillaz – in 2006.
His recent feature length work Joy Division premiered at the 2007 Toronto International Film Festival in 2007 and won the Sound and Vision award for ‘Best Music Film 2007’ at the CPH:DOX festival in Copenhagen, and the Audience Awards for Best Film at the Gdansk film festival 2008 and ‘In-Edit’ festival in Barcelona 2008. It also won the prestigious Grierson Award 2008 for Best Cinema Documentary.
He also films and directs short, artists’ moving image works including City Symphony, 400 Anarchists and Mr. Fred Zentner’s. These have been shown internationally by the British Council, onedotzero and others. The most recent, The Western Lands, about climber and writer Jim Perrin’s climb of The Old Man of Hoy won best short film awards at the Banff and Vancouver film festivals.
He also shot, edited and made motion graphics for the acclaimed feature documentary Scott Walker: 30 Century Man, for director Stephen Kijak in 2006.
Gee was born in 1964 in Plymouth. He studied Geography at the Universities of Oxford and Illinois. He has worked in film / video since 1990. He lives in Brighton with his wife and son.

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With the support of Tenaris – Organización Techint

For the first time, Fundación Proa participates in BAFICI - Buenos Aires Independent Film Festival. In its 13th edition, premieres in Argentina the documentary film Nuremberg: Its Lesson for Today (1948/2009), the greatest courtroom drama of all time – the 1945 Nuremberg trial of top Nazi war criminals.

Sandra Schulberg and Josh Waletzky have masterfully restored this historic movie (after U.S. officials suppressed the film and the negative and soundtrack were lost or destroyed), originally directed by Schulberg’s father and commissioned by Pare Lorentz.  The negative was struck from the best quality extant print, borrowed from the German National Film  Archive, and not one picture frame was removed or changed in the restoration. The restoration team also reconstructed the musical score and Liev Schreiber re-recorded the narration.

The International Military Tribunal in Nuremberg (Nov 20, 1945 – Oct 1, 1946), the first major trial to  prosecute crimes against humanity, addressed questions of guilt and complicity in unimaginable atrocities. The film captures the defendants in their own words, admitting only to “certain excesses” and “abuses.”  Intended as an historical endpoint, an object lesson for future generations, Nuremberg has since become, tragically, a prototype for tribunals convened to prosecute genocides around the world.

NUREMBERG (1948/2009, 78 mins.)
Original version Written & Directed by Stuart Schulberg. Editor: Joseph Zigman. Producers: Stuart Schulberg & Pare Lorentz. Production Supervisor: Eric Pommer, U.S. Office of Military Government. Musical Score: Hans-Otto Borgmann. Restoration by Sandra Schulberg & Josh Waletzky.  Executive Producer: Leon Constantiner. Narrator: Liev Schreiber. Senior Archival Researcher: Elisabeth Hartjens. Score Reconstruction: John Califra. A production of Schulberg Productions and Metropolis Productions. USA. In English & German with English subtitles.

PRESS:
Entrevista a Sandra Schulberg, hija del realizador de Nuremberg. El Intransigente. 31.05.2011
Sandra Schulberg: “La película combate el negacionismo”. Revista Veintitrés. 18.05.2011
El juicio en Nüremberg. Cine Buho. 05.05.2011
Sin escenas de Justicia en la sociedad del espectáculo. Clarín. 04.05.2011
La memoria y la propaganda. Revista Noticias. 22.04.11
Los crímenes nazis en un tribunal histórico. Clarín. 18.04.2011
Documental sobre el juicio de Nuremberg revive horror nazi. El Día (La Plata). 18.04.2011
Nüremberg: Its Lesson for Today. Reseñas de cine y vida (Blog). 17.04.2011
Un documental sobre el juicio de Nuremberg revive el horror nazi. Terra Colombia; La Segunda (Santiago, Chile); Emol (Santiago, Chile); Información (Alicante); La Nueva España; La Opinión A Coruña; Info7 (México); Univisión (EEUU); Yahoo! En Español; Levante EMV; Diario de Ibiza; Faro de Vigo; Noticiero Legal; Terra España; Periódico 7 Días (Rep. Dominicana); La Opinión de Granada; Caracol Radio (Colombia); Diario de Mallorca; Miami Diario; Canarias 7; Informativos Telecino (España); La Opinión de Zamora; El Economista (España); La Información; Pasito; Orange (España); Panamá América; 20 Minutos (España). 15.04.2011
Mostrar lo indecible: el impactante filme sobre el juicio de Nüremberg. Clarín. 12.04.2011
Tras 62 años de censura, llega la película del Juicio de Nuremberg. Tiempo Argentino. 12.04.2011
“Nüremberg” y Sandra Schulberg en Telenoche. ProaTV. 11.04.2011
Un documento para la historia. Página 12. 09.04.2011
BAFICI “Nüremberg”. “Nüremberg”- Un documento para la historia. DIsonancias Blog. 09.04.2011
BAFICI “Nüremberg”. Leedor. 09.04.2011
El juicio en Nüremberg, la historia detrás de la película. Revista Ñ. 08.04.2011

The filmmaker will discuss his work with the audience at the end of the projection

Saturday July 10, 17, 24 and 31, 7 PM
Fundación Proa’s Auditorium Av. Pedro de Mendoza 1929 (Caminito)

For more information: auditorio@proa.org

On July, Proa Cinema will present Apuntes para una biografía imaginaria (2010, 60’), writer/ director Edgardo Cozarinsky’ s latest film. The film will only be shown four times on Saturday July 10, 17, 24, 31 at 7PM.

Highlighting its experimental value, this visual biography navigates between the forms of the essay, the cinematographic production and narration without circumscribing to any specific gender. The presence of Cozarinsky, unavoidable writer, suggests the script and editing new reading territories, new frontiers in the search of memory/ remembrance.
The “imaginary biography” is constructed throught fragments of previous works as well as discarded material not used in films such as “One Man’s War” (1982), “Sunset Boulevards” (1992) y “El violín de Rothschild” (1996). This journey throughout the author’s biography is combined with historical pieces belonging to Cozarinsky‘ s personal archive (images of Vietnam, Stalin at the end of World War II and France under the German occupation)

Apuntes para una biografía imaginaria was previously premiered at BAFICI’ s 2010 edition, with two showings. The Film Festival dedicated the Panorama Section to acknowledge the director’s film trajectory. In this occasion, Cozarinsky presented his book  “Cinematógrafo”, a collection of his essays on cinema.

Film Credits
Production: Constanza Sanz Palacios
Written and directed by: Edgardo Cozarinsky
Original Soundtrack: Ulises Conti
Editing: Eduardo López
Sound: Gaspar Scheuer
Postproduction: Facundo Pires, Galel Maidana
Material restoration: Juan José Stagnaro

With the support of Buenos Aires Patronage’s law, Tenaris – Techint Organization and La Bestia Equilátera Publishing House.

Apuntes para una biografía imaginaria will premiere on July, 10 at 7PM at Fundación Proa’s Auditorium and will be shown again on Saturday July 17, 24, 31.

Limited seating / General Admission: $10. Students and Senior citizen: $8.
By telephone with American Express to: [+54 11] 4104-1000

On the Film
Paraphrasing Borges, Edgardo Cozarinsky has gathered images, words and sounds. One fine day, inspired by Ulises Conti’ s music, he realizes that these fragments – in which History dialogues with people’s fate and silent grievance – draw the image of his own face.

On the author
Edgardo Cozarinsky was born in Buenos Aires, and lived over thirty years in Paris. Nowadays, he spends most of his time in his hometown. Amongst his books, we can highlight his novels “El rufián moldavo”, “Maniobras nocturnas” and “Lejos de dónde”, the short stories “La novia de Odessa” and “Tres fronteras”, the essays “El pase del testigo” and “Blues”, and the unclassifiable “Vudú urbano”. When it comes to his film productions, his favorites are “La Guerre d’un seul homme”, “Boulevard du créspuscule”, “Le Violon de Rothschild”and “Ronda nocturna”.

Sergio Wolf
The smaller stories that grow at the margins of the Big History were more the underlying tone of Cozarinsky’ s films– and stories, essays and novels -, than its subject matter. Nevertheless, there was also a literary dimension, a flow of lives, destinations, passions and convictions, both crossed and interfered. In this sense, Apuntes para una biografía imaginaria is both a continuity and the beginning of a new course for the filmmaker’s productions; since these stories – filmed, found, alluded, stories of love and pain, even secret stories – don’t pretend to suggest a sense of totality. They are part of a quest – that twin sister of randomness – that zigzags, finds, abandons, lightly illuminates then vanishes, leaving us with the gratifying feeling that under those beautiful moving texts, behind these powerful yet unknown images, there is more, much more. In these times, when cinema is defined by its excesses, Apuntes … produces an extraordinary effect: its sobriety is so discrete and confessional that it reminds us that cinema is not the world’s rumor but is made of – or better yet, is – the murmur of human beings.

Daniel Link
In the presentation of his last cinematographic exercise, Apuntes para una biografía imaginaria, Edgardo Cozarinsky stays corrected and states that his work, which he is (and for a good cause) reluctant to call “film”, was not exactly intimate, but clandestine. No other adjective could fit this film more perfectly as Apuntes para una biografía imaginaria seems to start at the same place (that favorable twist) that Ernst Jnger -leading role in La guerra de un solo hombre, another Cozarinsky’ s film – defined as the only possible space for his (and our) times.

Apuntes para una biografía imaginaria is constructed with what remains (as are other post cinematographic monuments, such as: Hurlements en faveur de Sadeo Histoire(s) du cinéma). However, unlike in those films, Cozarinsky (who will only accept his name to be mentioned at one of those productions) assumes all the consequences of the fact that nowadays we all discover ourselves being what remains. It is not, then, about the retrieval of waste of other films (sequences that were left out or can be re signified in a different context) nor is it a photomontage put together in a collector’s rush. Cozarinsky presents his Apuntes… (deliberately articulated in a spiral of time going back and forth) not like a thing from the past, not as memories or testimonies that should be saved from oblivion; but almost as a sabbatical holiday: the suspension of time and activity; not work but the in-operation and un-creation. The situation of being what remains, which Cozarinsky puts both him and ourselves in (as spectators of his non-film and post-cinematographic exercise – I am aware that, in this context, the word “avant-garde” is not useful at all) is that of what is imminent: Apuntes para una biografía imaginaria is the present tense coming after the last day, a time where nothing can happen because the new is still in course. That is the time tension of what is imminent. The remains are also a wake-up call: Isn’t that what those constant loves in front of Cozarinsky’ s camera lens have been forced to interpret? What they hear and what they react to (for better or for worse) is a small tune, a small tune that holds the secret of the film, establishing its internal coherence, and which remembrance but most of all the imagination (what are they thinking? Why do they cry?) dance to. Cozarinsky is well aware of the fact that there is no more cinema (in a cinematographic sense to say the least) and proves it with his not intimate but clandestine Apuntes (some would say: tactic maneuvers have better remain unknown). It is not a film but a kind of exercise that serves the purpose of developing an ascesis: a spiritual exercise. Nothing is past in these Apuntes because the only temporality that they recognize as such is that of a continuous present. This is why there is no proper filmmaker behind this exercise but a survivor, a writer without a reader, a poet without its people. Those are some of the reasons that make Apuntes para una biografía imaginaria a post cinematographic “masterpiece”. So far there has not been many like it and I don’t believe there will be many more, at least not with the intensity that Cozarinsky has known to imprint.

David Oubiña
Apuntes para una biografía imaginaria is, as it should be, a film both melancholic and smart. There is, in fact, a sort of portrait done with the remains of a shipwreck. This is what the filmmaker’s voice says. One should not expect that the notes on one’s own biography are formed by the most significant moments, but, to the contrary, by pieces that suddenly scintillate perceiving a moment of danger, as Benjamin wanted. That was without a doubt the challenge of this beautiful and fleeting film. That is what is admirable about his notes; the forgotten moments, secondary, not stellar, are suddenly charged with a new vitality (that was not there before and at the same time was – now we know – at the original context). With those materials, Edgardo Cozarinsky shapes a moving story in scorso.