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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.

Amy Marcy Cheney Beach (1867–1944) was not just a gifted composer and pianist; she was a force of nature in a world unprepared for women with serious musical ambitions. Born in the quiet town of Henniker, New Hampshire, Beach entered the world with an uncanny musical sensibility. Stories from her earliest years border on myth: by the age of one, she could reportedly sing over 40 songs; by four, she was composing her own music.

We have taken an important resolution: to progressively embrace the iPhone as a tool for documentary filmmaking. This decision is the natural evolution of a journey that began decades ago — a journey rooted in the need and choice to adapt to technology, while always keeping subject and story at the heart of it all.

In the rich and often under-explored history of American classical music, three composers—Amy Beach, Margaret Ruthven Lang, and Helen Hopekirk—stand out not just for their talent, but for their perseverance and presence in a field still finding its voice in the 19th century.

Soon, we’ll begin training an Ai model with those characteristics in mind. In the meantime, I’m absorbing Bristow’s music, reading the scores, and listening with care — trying to get under the skin of a man who dared to compose in an era that didn’t yet know how to listen. And above all, hearing from you, the reader who will comment on this post with opinions and ideas as to How did Mr. Bristow may have sounded like?

My primary medium for decades has been documentary film. That’s where I’ve told most of my stories, behind moving images, sound, and a carefully constructed edit. But recently, I’ve returned—almost instinctively—to still photography. Not digital, but analog: 35mm film, the kind I experimented with in a parallel universe during the late 1970s and early ’80s, when I was just beginning to find my way into filmmaking.

For the last two months, I’ve been returning to analog photography. Not for interviews or narrative-heavy sequences (that would be impractical), but for transitions, establishing shots, and the poetic moments that so often pair well with the precision of the FX3.

The future of documentary filmmaking hinges on a filmmaker’s ability to adapt to the ever-evolving funding landscape.

We remain open to ideas and proposals that align with the goals and values of our mission. Each potential project is considered with care—me

For the first time, we can look into the eyes of Attilio Piccirilli—not through a blurred photograph or a worn-out newspaper clipping…

My grandfather had sent for them. There was a steamship waiting. But it was a race against time, and the girls lost.

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

Lectures, screenings, and workshops on documentary production and ethics, and the art of visual storytelling across cultures and formats.

Education plays a pivotal role in addressing the legacy of slavery and understanding its implications in American society. Institutions must

Michael’s devotion to French was not merely academic; it was deeply personal.

Heritage Film Project, under the direction of Eduardo Montes-Bradley, has, over the past fifteen years, built a significant catalog...

The catalogue for the upcoming exhibit The Art of Joy Brown is out.

The Papers of Daniel Chester French: A Temporary Home with Heritage Film Project