Two on the Sidewalk

Vargas, a 54 year old man, gets out of jail in the province of Corrientes, Argentina. Once released, he wants to find his now adult daughter, who lives in a swampy and remote area. To get there, he must cross great distances in a small boat on the rivers, scoring deep into the jungle. Vargas is a quiet and self-contained man. He possesses the restraint of those living close to nature. A deep mystery surrounds him, the people he encounters and the places he goes through, all that taking in the unalterable world he finds almost unchanged after his long years of incarceration.

A woodcutter goes about his work.

The exhibition 'The Complete Letters' features epistolary works defined by cinematographic creation. This is an experimental communication format used between pairs of film directors. Although each director is situated in a location geographically distant from that of their partner, they are united by their willingness to share ideas and reflections on all that motivates their work. Within this space of freedom, the directors featured in the exhibition examine their affinities and differences, within an environment of mutual respect and simultaneity of interests and with notable formal variants established in each of the correspondences.

Lisandro Alonso creates a face-to-face encounter with the wild in the beguiling and enigmatic, a moment observed in a seemingly floating abyss.

A sailor takes a short leave to visit his hometown and see if his mother is still alive.

A father searches for his daughter, who has been kidnapped by an outlaw.

A solitary man's only pastime is to go to a movie theatre, the Teatro San Martín, on Corrientes Avenue in Buenos Aires. There he exorcises his ghosts.

A father and daughter journey from Denmark to an unknown desert that exists in a realm beyond the confines of civilization.

Lisandro Alonso returns to La Pampa, to the same locations of Freedom, to shoot his Carta para Serra (or Sin título), with a camera that seems to float among the vegetation. He has the company of Misael Saavedra, and yet instead of looking back (or making a tribute to his actors, because that was the subject in Fantasma) this movie seeks to be a prologue for his next one.

Two of the most distinctive voices in filmmaking are teaming for a new venture. It will be a film about an American cultural irrelevance that Americans are incapable of seeing, lost in their romantic hall of mirrors, set in Amazonia.