Cinema: Argentine Cinema History

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Argentine Cinema History

But censorship and a new military government put an end to this flourishing period. Recovery would come later, with Tiempo de revancha (Time for revenge, Adolfo Aristarain), Plata Dulce (Easy Money) , a satire, and the documentary called La República perdida (The Lost Republic, Miguel Pérez). In 1984, the government of the Radical Party did away with censorship and a filmmaker from the sixties, Manuel Antin, in charge of the INC, promoted the birth of a new generation, which came to be called Argentina Cinema in Freedom and Democracy.

Tiempo de revancha.
(Time of Revenge), a film of Adolfo Aristaraín.

Left: Susú Pecoraro and Imanol Arias in Camila. María Luisa Bemberg. Center: Chunchuna Villafañe and Norma Aleandro in La Historia Oficial (The Official Story). Luis Puenzo. Right: Miguel Angel Solá in El exilio de Gardel (Gardel'sExile). Pino Solanas.

Thus, there came Camila (María Luisa Bemberg, another Oscar candidate), La historial oficial (The Official Story, Luis Puenzo, final winner of the Oscar), Hombre mirando al sudeste (Man looking south-east, Eliseo Subiela), Tangos. El exilio de Gardel (Tangos. Gardel's Exile, Solanas), La deuda interna (The Internal Debt, Miguel Pereira) and many others, most by young or previously neglected filmmakers who won a large amount of international awards and distributed his movies almost all around the world.

However, the 1989 Argentine economic crisis, with hyper-inflation, also ended the new dreams. Definitely turned into producer-directors depending on state subsidies or foreign co-productions, Argentine filmmakers have placed their hopes on the new Act, passed in 1995, forcing video and television to make financial contributions to Argentine movies. In this way, Alan Parker's Evita may come to finance a good Argentine movie on Eva Perón. In the meantime, there is continuous appearance of young filmmakers, with great creativity and low budgets, like Ciro Capellari (who is by now shooting with the Spanish actress, Angela Molina, in Patagonia), Alejandro Agresti or Jorge Rocca.

Paraná Sendrós Print material kindly granted by the Pablo C. Ducros Hicken Cinema Museum

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