Dejemos que la casa se ensucie: Seguro que Bach cerraba la puerta cuando quería trabajar (Narcisa Hirsch, 1979) + Las lindas (Melisa Liebenthal, 2016)

Film program (Kontadores).

Seguro que Bach cerraba la puerta cuando quería trabajar (Narcisa Hirsh, 1979, 27min.)

Narcisa made this film three times, in 1974, 1979 and 2005. This is the 1979 version. She invites a series of women friends to participate and films them, head on and in close up, with no sound. Some time later, she screens the footage in super 8 and asks the same women to talk about their own image.         

Biography

Narcisa Hirsch (1928, Berlin), an Argentinian by choice, is a filmmaker with extensive experience in the field of experimental cinema. During the 1960s and 1970s, she expanded her activities to include installations, objects, performances, graffiti and urban interventions. Through her work, she explores key issues such as love, birth, death and questions linked to the female condition, recreated using the language of particularly intimate images, with a healthy dose of visual and sound poetry. To date, she has made over 30 feature films, short films and documentaries in super 8, 16 mm and video format .

Filmography

El mito de Narciso (2011), El aleph (2005), Homecoming (2001), Ama-zona (2001), Rumi (1999), A Dios (1989), Ana dónde estás (1985), Pioneros (1979), Mujeres (1979), Testamento y Vida interior (1977), Taller (1975), Bebes (1974), Come out (1974), Marabunta (1967)...

Las lindas (Melisa Liebenthal, 2016, 77 min.)

Based on personal experience and past conversations with her female friends, Liebenthal explores the mandates and prohibitions that mould the construction of the female gender, particularly in relation to image.                

Biography

Melisa Liebenthal (1991, Buenos Aires) is a film director and editor. Her work explores identity and its relationship with the construction of an image, through essayist films that playfully articulate different materials, ranging from documentaries and visual experimentation to fictional narrative, always maintaining a sharp awareness of the specificity of each type of image. Her films have won prizes at several international festivals, including Rotterdam, Berlin, Mar del Plata and BAFICI, and have been screened at others, including FIDMarseille, Edinburgh and Turin, as well as at MoMA and Film at Lincoln Center, among other.

Filmography

El rostro de la medusa (2022), Aquí y allá (2020), Constanza (2018), Las lindas (2016).

Dejemos que la casa se ensucie. Ciclo de Cineastas argentinas is a cycle curated by Lucía Dellacha, a student of the fifth year of EQZE.