Mariana Giordano

Five challenging young men gather in a closed courtyard. The chords of a rock band emerge from the silence that the siesta emanates. Immutable, they play as time unfolds and loses the stability of the present.

“The Bauhaus was never a myth for me. It was a piece of GDR childhood,“ says filmmaker Anne Berrini, who grew up in Dessau, in her partly autobiographical documentary. In 2005, she went in search of photographers Grete Stern and Horacio Coppola, who once met at the Bauhaus. She followed their traces from Germany to Argentina to New York and interviewed friends, relatives, artists and scientists. Whether Buenos Aires, the female psyche or marginalized indigenous peoples – the view of the artist couple was new, avant-garde, provocative. From the role model of women to emigration from Europe to the New World – on her journey, the filmmaker questions perspectives of the past and the present.

Three films reflecting upon the way in which image and speech control relate to one another. Dallas is a Fire exposes the racist speech in the archives of the Dallas TV in 1970. Sent to Lie investigates the surveillance methods applied to the Qom indigenous community with the argument of preventing COVID-19. In Non-Stop, there’s an attempt to build over history and beyond the inaccessible images

Itaeté, a Guaraní elder, tries to instill his traditional legacy in Ulises, but the boy's vocation is music. Due to an accident, the old man dies, and Ulysses accepts the atavistic legacy of canoe construction.