Portrait of a Lady vanished from Jacques Goudstikker's Amsterdam gallery in 1940 and surfaced eighty years later above a sofa in Mar del Plata. A federal judge has now sent it home. Eduardo Montes-Bradley recalls a seventh-grade birthday party in the Argentina of the 1960s, and a woman who recognized a painting on somebody else's wall.

Notes on "Papá Iván," a film by María Inés Roqué. México, 2000. Argentina's Dirty Little War This morning I spent the better part of an hour on the phone with a woman I had never met, talking about things I have carried for fifty years. Her name is María Inés Roqué. She makes documentary films; so do I. She left Argentina around the time I did. Somewhere in that hour we discovered we have many friends in common. It should not have surprised either of us: the country we left

While preparing a lecture in Barcelona on the 1916 crossing of the Andes by hydrogen balloon, I reopened the research archive my father left behind for his book Más liviano que el aire. Among the papers was an incomplete collection of the 1969 La Nación comic series Bradley y Zuloaga, published during the days surrounding the Apollo 11 Moon landing.

Pilar Roca Escalante visita o ateliê de Marcelo Soares em Timbaúba e traça o retrato do xilogravurista e cordelista de Olinda, herdeiro do "poeta-repórter" José Soares. Entre rendeiras, violeiros, o pavão misterioso e as vestes do cangaço, suas gravuras transpõem em imagem a música e a alma do Nordeste.

An evolving journey through memory, music, race, faith, and Carnival, told by the voices of the men and women who shaped the story of samba in Samba on Your Feet.

Samba on your Feet is a film by Eduardo Montes-Bradley | To experience samba and Carnaval is to immerse oneself in a living history.

A documentary portrait of Argentine novelist Héctor Tizón, filmed entirely in the province of Jujuy, exploring migration, cultural memory, language, and the mythic power of the journey in Northern Argentine literature.

Waissman (2010), directed by Eduardo Montes-Bradley for Heritage Film Project, offers an extended portrait of the Argentine artist Andrés Waissman at work in his Palermo studio. The film traces the origins of his Multitudes series — figures of nomadism, immigration, and silent crowds — and the multicultural ancestry behind his most recognized body of work.

By gathering certain authors, by placing them in relation to one another, Harss helps make them visible as a group. And in doing so, inevitably, he leaves others out. To what extent do literary movements exist before they are named — and to what extent are they the result of critical operations like his?

Los Cuentos del Timonel es el retrato documental que Eduardo Montes-Bradley filmó en Berlín sobre Osvaldo Bayer — historiador, periodista y anarquista argentino, autor de La Patagonia Trágica — ganador del Cóndor de Plata al Mejor Documental 2002 otorgado por la Asociación de Cronistas Cinematográficos de la Argentina.

Pérez Celis es el retrato documental que Eduardo Montes-Bradley filmó en 2005 en el atelier de Little Haiti, Miami, sobre el pintor argentino Pérez Celis — uno de los grandes exponentes del arte latinoamericano del siglo XX. Un film sobre la creación, la motivación y la filosofía del acto de pintar.

In April 1999, Argentina's Clarín gave Eduardo Montes-Bradley's documentary Soriano a full-page review in its prestigious Cultura y Nación section. Critic Jorge Carnevale called it "a revealing film" — a verdict that, twenty-seven years later, still holds.

In 1984 Enrique Shore was the photographer of Argentina's CONADEP, walking through the cells and torture chambers to make the images that became evidence against the juntas. Four decades on, he photographs birds in flight. A tribute to a master of capturing what escapes.

Volví a ver Adelante Cubanos, la película de 1959, y descubrí que no era un retrato del fin de la República. Era el comienzo de la Revolución hablándose a sí misma, antes de saber lo que iba a hacer.

Giacomo Puccini’s younger brother Michele died unknown in Rio in 1891, after a duel and a flight from Jujuy. The warning that kept Giacomo in Italy reached me through Héctor Tizón — a Jujuy judge — in a film I directed twenty-five years ago.

A find from the research desk of The Lost Republic: a Havana inventory listing a Thorvaldsen, a Wappers, a Columbus given by Columbus's own heir — and what these works tell us about the artistic world into which the Cuban Republic was born.

Durante años me preguntaron dónde se podía ver. Hoy vuelve, completa, mi primer documental sobre un escritor: Soriano, el retrato del Gordo que la academia desdeñó y los lectores amaron. Una película que el tiempo convirtió en el archivo de toda una generación.

Before Brazil painted itself, the world saw it through other people's hands. Debret's three folios, a sixteen-year-old Manet on a school ship, and the foreign eye on imperial Rio.

A photograph from a drawer at the Cuban Heritage Collection raises a question the iconography has spent sixty years avoiding. In December 1960, Ernesto Guevara sat with Kim Il Sung in Pyongyang and called his regime a model.

I went back to watch Adelante Cubanos, the 1959 film, and realized it was not a portrait of the Republic's end. It was the Revolution speaking to itself in its first months, before it knew what it was going to do.