| El Sur del Sur The Southernmost South Cultural Identity CINEMA |
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 Hugo del Carril |
However, the quality of the singer,
actor and filmmaker Hugo del Carril in Las aguas bajan turbias (Turbid
Waters coming down), La Quintrala, Más allá del
olvido (Beyond Oblivion) stood out. In 1957 the Cinema Act was passed and the Instituto Nacional de Cinematografía (INC, National Cinema Institute) was created. Since then, this organization decides on credits, diffusion... or bureaucratic hindrances, according to the time involved. |
| Its early support affirmed the controversial Leopoldo Torre Nilsson, who soon reached international fame La casa del ángel (The House of the Angel), La mano en la trampa (The Hand in the Trap); the couple made up by Fernando Ayala and Héctor Olivera -El jefe (The Boss), El candidato (The Candidate)- creators of the Aries company and after them, the members of the so called sixties generation, alien to the studio system, which was already too expensive and sluggish. |
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| Filmaker Leopoldo Torre Nilsson in action. |
Las aguas bajan turbias. (Turbid Waters coming down), a film of Hugo del Carril |
La Patagonia Rebelde (Rebellious Patagonia), a film of Héctor Olivera. |
 By
that time, the most outstanding filmmakers were Simon Feldman with
El negoción (The Big Deal), Martínez Suárez with
Dar la cara (To Face the Music) René Mugica with Hombre
de la esquina rosada (Man at the Pink Corner) -on a short story by
Borges-, Lautaro Murúa with Shunco and Manuel Antin with
La cifra impar (The Odd Figure), -on a short story by Cortázar-.
At the same time, Fernando Birri ran his school of documentary cinema,
with two memorable works: Tiré dié and Los Inundados
(People in a Flood), where the realistic social charges and provincial
humor made a good combination. |
 Lautaro Murúa |
| In
these days there appeared another actor, singer and director: Leonardo
Favio, who made his debut with an excellent drama, almost autobiographical,
Crónica de un niño solo (Chronicle of a Lonely Boy).
By late 1960s, some interest began to be aroused by the underground cinema
of some advertising directors who experimented with cinema language, mainly
the political essay by Pino Solanas and Octavio Getino, La hora de
los hornos (The Time of Furnaces), a provocative and innovative work
which was forced to be exhibited in clandestine performances as a challenge
to the military government. Much militant cinema was developed by those
years. |
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| Pino Solanas | La Patagonia rebelde (Rebellious Patagonia) |
La Tregua, a film of Sergio Renán |
| Between
1973 and 1975, with a democratic government and a considerably stable
economy, Argentine cinema reached great reviews and box-office success,
such as the countryside drama Juan Moreira (Favio), La Patagonia
rebelde (Rebellious Patagonia), a story of repression (Olivera), La
tregua (The Respite), an office romance nominated for the Oscar (Sergio
Renán) and La Raulito (Murúa). |
| Continue... |
| Print material kindly granted
by the Pablo C. Ducros Hicken Cinema Museum |
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