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.

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.

Una Cierta Mirada es el retrato documental que Eduardo Montes-Bradley filmó en 2004 sobre Juan José Sebreli — sociólogo, ensayista y filósofo argentino — recorriendo los paisajes urbanos, arquitectónicos e intelectuales de Buenos Aires que definieron su vida y su pensamiento. Un film sobre la ciudad como destino y el siglo XX argentino como experiencia vivida.

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.

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

You probably know Piazzolla from Adiós Nonino, or from the Kronos Quartet recording that made a generation of American listeners suddenly aware that something extraordinary had been happening in Buenos Aires for thirty years without their knowing. What is harder to explain is why it took so long — not for American audiences to discover him, but for Buenos Aires itself to accept what he had made.

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.

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.

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.

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