Las corrientes

At the very moment she’s being honoured in Switzerland for her work as a fashion designer, Lina feels the insignificance of success and makes a radical decision in response to the void that has now opened up in her own conscience. As she lets herself be carried away by the current of a river, something halts her: the image of her daughter. Returning to Buenos Aires alters her perception of everything. Neither work, nor marriage, nor motherhood can recover their former meaning. From this point on, the film becomes one with Lina’s experience. When a piece by Morton Feldman is heard, her vision of the world is one of sorrow; with Gustav Holst it becomes utopian. These subjective, dialectical shifts in Lina’s consciousness allows for the staging of some extraordinary sequences—sometimes marked by enchantment, at other times by desolation (such as the scene set in a lighthouse atop a building, or the one in which Lina visits her mother, a symbolically pivotal moment)—where the rigour of the mise-en-scène is evident. The conception of space as an aesthetic category is decisive here, as is the organisation of temporal rhythms within the scenes and the interplay between shots. (Roger Koza)

In the presence of Milagros Mumenthaler.

Milagros Mumenthaler: ¿CUÁNDO LLEGA PAPÁ? (2000, K), CAPE COD (2003, K), EL PATIO (2004, K), AMANCAY (2006, K), ABRIR PUERTAS Y VENTANAS (2011), MENUET (2012, K), LA IDEA DE UN LAGO (2016)