A little girl and a blind man staring at a lake that blurs the limits of space. Two actors coming together as lovers to rehearse an old play in a southern country. Two old men living inside a rubbish bin in front of the Congress of that same southern country. A son in perpetual farewell with his aging mother, a blind pianist condemned to play Beethoven’s Moonlight, because it is the only piece she still remembers by heart. Two filmmakers, perhaps responsible for all of the above, shooting trains, moons, and devoting their time to an activity that no one knows if it still exists: cinema.

Curator's Note

From Switzerland to Argentina, restaging the same dynamic from the Beckett work in new variations, finding grace, finding despair, finding death. The way we move from each to the other is often ingenious, playful, and yet it is also work - it is the fruit of a trial and error, an approach to filming that relies not on pre-digested ideas but rather on a search. There are rehearsals, there are shoots, there is editing. And at each stage the material is worked and reworked. And what is the result? The beauty of the Switzerland section (Cleo Moguillansky a natural comedienne), Laura Paredes pulling miracles out of thin air, Alejo Moguillansky returning once again to his relationship with the pianist Margarita Fernández, interstitials from Inés Duacastella and Ana Roy that unites this disparate material (shot so gracefully that the fact that these shots are included as a way make the footage cut together doesn’t matter at all), Maxi Prietto singing ‘Viene Arrastrandose.’ Films are still possible, even if it’s fin de patrie. - Jhon Hernandez

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