Originally blacklisted in Argentina and now the most widely viewed film in the Heritage Film Project catalogue, Evita (2005) achieved its unusual evenness of tone through a single deliberate choice: the script was written in English rather than Spanish — the director's first screenplay in his second language. A close reading of how that linguistic distance produced the most balanced portrait yet of one of the twentieth century's most polarizing political figures.

Carola Saavedra: Between Berlin and a Place Named Peixoto is an award-winning Heritage Film Project production directed by Eduardo Montes-Bradley, part of his ongoing series of documentary essays on contemporary authors.

El Banco Sonoro de Salta, creado por Norberto Ramírez, es uno de los archivos de patrimonio oral más significativos de América Latina — un banco sonoro vivo que documenta escritores, pobladores y paisajes del noroeste argentino. Un recurso para instituciones académicas en etnomusicología, musicología y antropología cultural

A stained glass window is a work of art — a dialogue between form, light, and color. Its fragility is comparable to human life, and yet like human beings it is capable of withstanding the assaults of time and oblivion. To preserve this heritage is to recognize where we come from and what road has brought us here.

Un vitral es una obra de arte, un diálogo entre la forma, la luz y los colores. Testigo mudo de la historia, su fragilidad es comparable a la vida humana — y como ella, capaz de resistir los embates del tiempo y del olvido. Preservar este patrimonio es reconocer de dónde venimos.

On my desk sits a first edition of Domingos en Hyde Park, published by Ediciones Sur, Buenos Aires, 1936. On the flyleaf, in a confident cursive hand: "A R. E. Montes Bradley, con toda simpatía — Victoria Ocampo." The essay it introduces — La Historia Viva — is one of the most remarkable political documents written by a Latin American intellectual in the twentieth century. It is remarkable not because Ocampo admired Mussolini. Many did. Between 1921 and 1935, Franklin D. Roos

A filmmaker's meditation on the African diaspora across Brazil, Cuba, and the United States — beginning in a restaurant in California in the early 1980s and arriving, decades later, at the Bay of Guanabara, where historian Haroldo Costa offered the sentence that changed everything: We did not cut the umbilical cord. The first in a series of essays exploring Black History not as a month but as a living, continuous thread.

A partir de una carta escrita por Ana María Shua en 2002 en apoyo al proyecto Perfiles, este ensayo recorre el origen de una iniciativa que, con el tiempo, se expandió hasta convertirse en un cuerpo de obra documental de alcance continental. Desde Argentina hacia las Américas, el Heritage Film Project explora la memoria cultural a través de artistas, escritores y creadores cuyas historias revelan los vínculos profundos entre identidad, migración y creación.

This research provides the first comprehensive documentation of systematic homophobic erasure in early 20th-century Latin American letters. Using diplomatic archives, the study reveals how Carlos María Ocantos (1860-1949), despite publishing 37 volumes and earning Royal Spanish Academy recognition, was deliberately excluded from Argentine literary canon due to his sexuality."

The global success of Buena Vista Social Club revealed the extraordinary power of Cuban music to captivate audiences around the world. Yet Cuba's cultural identity extends far beyond its musical traditions. CUBA: Through the Looking Glass seeks to expand that conversation by exploring the island's contributions to the visual and decorative arts, where architecture, craftsmanship, and color play an equally compelling role.

More than twenty years after it was made, the work Alberto Laiseca and I created together is receiving a new moment of recognition. My documentary Deliciosas Perversiones Polimorfas will be screened at the Auditorio Jorge Luis Borges of the Biblioteca Nacional Mariano Moreno in Buenos Aires, as part of the exhibition “Laiseca, el iniciado.”

Astor Piazzolla changed the way we felt about Buenos Aires, not just tango, but the city itself.

Writing today from Charlottesville, I cannot help but feel the tension of that contrast. In the United States, miscegenation was criminalized until 1967, when Loving v. Virginia struck down anti-miscegenation laws.[3] The fear of racial mixing shaped law, culture, and violence. In Brazil — imperfect, contradictory, deeply unequal Brazil — racial mixture had long been acknowledged as structural, as constitutive.

En breve se cumplen veinte años del estreno de “Yo y el tiempo”, film de Norberto "Negro" Ramírez sobre José Juan Botelli que tuve el gusto de producir bajo el sello Contrakultura. Contrakultura fue un un experimento curioso nacido en los albores de la era kirchnerista cuando reemplazar una consonante por la otra tenía connotaciones contraculturales. Con el tiempo eso también cambió. Creo que esa idea del tiempo es una constante en la relación que establece Ramírez con el poe

Two decades after its premiere, I am pleased to share the film again — now accessible for new audiences to discover or revisit. If the documentary continues to resonate, it is because samba itself continues to evolve. Culture does not stand still, and neither does rhythm.

Qualiton occupies a distinctive place in the history of recorded music as a cultural endeavor. Founded in Buenos Aires in the mid-twentieth century, the label emerged at a moment when recording technology, artistic ambition, and questions of cultural memory converged. Qualiton was conceived not merely as a commercial venture, but as a platform for documenting and disseminating music of substance—classical, folkloric, contemporary, and experimental—often at a time when such re

This documentary includes extraordinary archival footage as well as original photographs taken by Che himself. So far, it is the only documentary that brings the ceremony of the return of Che’s remains to Santa Clara, the government ceremony, as well as the pouring of people who gave homage to this twentieth-century heroic figure. This documentary is a must-see for anyone interested in labor studies, history, and cultural studies of Latin America.

When Borges declared 'I'm fed up with him' about his own persona, he didn't imagine it would become my documentary title. 25 years later, 'Harto the Borges' remains relevant—a polyphonic portrait using multiple voices that resist synthesis, mirroring Borges's own literary techniques. My reflections on the methodology and complete transcription now available on Academia.edu to mark the anniversary.

In our current moment of global migration and cultural displacement, Lisboa offers a nuanced portrait of what it means to build a life across borders. Rather than presenting immigration as either triumph or tragedy, the film shows it as an ongoing process of adaptation, loss, discovery, and creative transformation.

Two decades have passed since the premiere of Testigo del Siglo at the Buenos Aires Independent Film Festival, where the memoirs of Ismael Viñas—a man who shaped Argentina’s intellectual and political landscape—first flickered on screen. Viñas, the founder of Contorno magazine, a collaborator of Arturo Frondizi, and the creator of the Movimiento de Liberación Nacional (MLN), left Argentina in 1976, never to return.