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.

Perhaps, we have to stop swimming and let the current take us to safe harbor, or to a sandy beach somewhere. Come to think of it, it was in fact Aronovich who explained to me once how Weinschenk himself used to talk of shades of gray in film as beaches. And here I go again! drifting in free association when I should be getting ready to pick my daughter from school and talk about what we're going to do once we move to Madrid.

This is my tribute to Humberto Calzada: Cuban, American, painter, friend, brother in all the ways that matter. A man who understood that sometimes the only way to go home is to create it, brush stroke by brush stroke, until the canvas holds everything you remember about love.

El Eternauta signals something new for Argentine cinema. For the first time, we are seeing a production that stands on its own without imitating the tropes of international (especially American) storytelling. It’s not about achieving universality through abstraction—it’s about being unapologetically Argentine, and in doing so, achieving something truly universal.

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

Lucy Ann Sutton had a long line of descendants, and my children stand at the very end of that line.

As part of the Year of Cortázar celebrations, organized by the Ministry of Culture of the City of Buenos Aires, the Centro Cultural...

Documentary Film Fund, is pleased to announce the donation of 13 documentary films to the Centro Cultural Recoleta in Buenos Aires.