How many significates can an image contain?

Synopsis

Grandpa, why did they try to kill you? The documentary addresses the animic changes that the filmmaker experiences while he tries to understand the participation that his grandfather played, as a civil associate, during the last military dictatorship in Argentina. The role that he played as the Dean of the Architecture Faculty at the University of Buenos Aires, as a link with the concentration camp ESMA, is one of the multiple topics that grandpa “Pico” narrates in camera.

The Story

On the first hours of March 24, 1976 a new civic-military coup was being consumed, the last of a series started in 1930. For vast sections of the population, it wasn´t certainly anything new, and there weren´t few the Argentinians that, not knowing the consequences that that coup would generate, received with expectation the “New Government”, behind the desire of peace and social order.

Now, with fifteen years of the XXI century over us, on the verge of the 40th anniversary of that event, our country has a vast flow of objective information, testimonies, historiographical productions, audiovisuals and artistic in general, that had been strengthening the work for the memory from that recent past. From the search for justice from relatives and human rights institutions, the most brutal repressive side from the self-determined National Reorganization Process could be known, and their crimes against humanity too.

However, that de facto government, anticipated as inevitable and analyzed subsequently in its more notorious and painful consequences, exists in a certain way that the discussion get deepen about a series of questions. Why the coup? For what? What country project did the military junta headed by the General Videla represented? What interests they respond for? Such questions sometimes suffer the same fate, as being so clear, they can’t be appreciate in all their dimension. However, they end up being crucial in the time to analyze, for example, the dictatorial government’s action on the different facets of the public life. What happened, for instance, at the National Universities during the period 1976-83? Deepining the tendency that layed since July 1966 -with the remembered Noche de los bastones largos-, the dictatorship, violating the universitary autonomy, would implement interventions in several faculties, firstly utilizing military associates, and then civil ones.

The University of Buenos Aires, principal centre of studies in the country, was seen as a territory of conquest. The goal, logically, was to close up the movilization and students-teachers self-organization processes, which had been empowering themselves during the past years, and were debilitated after the action of the right-wing Peronism and the AAA during the precedent democratic government. At the career of architecture, located at the Universitary City of Nuñez, just a few metres way from the ESMA (the most emblematic concentration camp), one of the strongest confrontations took place. The perspective on the studies programme, on the teaching method and professional practice, concentrated a whole conception of society and future life. To report, in detail, those projects, as well as those who put them in practice and how they did it, is a task that cannot be postponed. The Faculty of Architecture and Urbanism of the University of Buenos Aires during the 60’s and 70’s still has much to say.

News

  • 3 November, 2016

    (Español) JUEVES 24/11. ESTRENO EN CINE GAUMONT, AVENIDA RIVADAVIA 1635 (CABA)

    Sin categoría
  • 16 August, 2016

    (Español) JUEVES 1/9, 21 HS. ESTRENO OFICIAL: CENTRO CULTURAL DE LA COOPERACIÓN, AVENIDA CORRIENTES 1543 (CABA)

    Sin categoría
  • 16 August, 2016

    (Español) MARTES 30/8, 19 HS. INSTITUTO DE ARTE CINEMATOGRÁFICO DE AVELLANEDA, 12 DE OCTUBRE 463 (AVELLANEDA)

    Sin categoría
  • 16 August, 2016

    (Español) SÁBADO 27/8, 13HS. INSTITUTO SUPERIOR DE FORMACIÓN DOCENTE N° 52 "MAESTRO F. I. ARANCIBIA", RIVADAVIA 349 (SAN ISIDRO)

    Sin categoría
  • 16 August, 2016

    (Español) JUEVES 25/8 19 HS. CINE UNIVERSITARIO TITA MERELLO. 29 DE SEPTIEMBRE 3901 (REMEDIOS DE ESCALADA, LANÚS)

    Sin categoría
  • 13 July, 2016

    (Español) MIÉRCOLES 10/8 19HS. MUSEO DEL LIBRO Y DE LA LENGUA. Av. Gral. LAS HERAS 2555 (CABA)

    Sin categoría
Mariano Corbacho

Mariano Corbacho

Studied Documentary film realization at the Film Art Institution (IDAC) in Avellaneda, completing his studies in 2012 with the production of the essay short film “La Campana”. That same year was pre-selected on the 5th Federal contest of full length movies “Raymundo Gleyzer” from INCAA. He also studied Photography on the school “Master Quinquela” between 2012 and 2014 where he currently teaches. In 2014 he shot with Martín de Dios the movie “Las Libres, la historia después de…”. In 2015 he started his university studies at the National Arts University (UNA) on the audiovisual department. For four years of work with Martín de Dios and Juan Pablo Diaz they produced the full length movie “70 y Pico”, his debut feature.

Martín de Dios

Martín de Dios

Studied Documentary film realization at the Film Art Institution (IDAC) in Avellaneda. He has been a member of the production team from the full length Documentary “Las Libres, la historia después de…” (2014) as camera operator, as well as the full length documentary movie “70 y Pico” (2016), working as camera operator and editing. He was the founder and actual director of “Hydra Productions”, where he makes experimental videos and video clips from musical artists.

Juan Pablo Diaz

Juan Pablo Diaz

Graduated from the History career (UBA), he has been making a raid into the academic investigation field and teaching, emphasizing his audiovisuals art insertion. He coordinated the historic research for movies such as “Para que no caigas” (2015), “70 y Pico” (2016) and “The Coalfish Painter” (In production).

Credits

Direction: Mariano Corbacho

Production: Mariano Corbacho, Juan Pablo Diaz, Martín de Dios

Screenplay and Research: Juan Pablo Diaz

Camera: Martín de Dios

Montage: Martín de Dios, Juan Pablo Diaz, Mariano Corbacho

Music: Martín Aratta

Boom Operator: Juan Pablo Diaz, Martín de Dios, Sol Ticera, Lautaro Strumminger, more…

Color: Laura Viviani

Post-sound: Hernán Gerard

Graphics and Web: Rodrigo López

 

Length: 103’

Genre: Full length documentary

Production year: 2016

Sound: Stereo