Un andantino

UN ANDANTINO is about an unfinished, unused sequence of Alejo Moguillansky’s earlier film LA VENDEDORA DE FÓSFOROS, in which pianist Margarita Fernández analyses Bresson’s use of Schubert’s Sonata in A Major in AU HASARD BALTHAZAR. Yes, it’s that specific. Can the obsessions of two Argentinian artists with an Austrian composer and a French filmmaker justify an entire movie? Yes, but only if it is rigorous enough to avoid mere ego and transfigure it into something else. Like most of Moguillanksy’s films, UN ANDANTINO is self-reflective, intricate, auto-fictional. Unlike them, it is not a comedy. His essayistic tendencies come to the fore in a vertiginous clash of visual and sonic superimpositions, crossreferences and layers of meaning, which pop up in overlapping streams of cinematic meditation. As Arnold Schoenberg wrote about Anton Webern, “Every glance can be expanded into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single breath—such concentration can only be present when there is a corresponding absence of self-indulgence”. In UN ANDANTINO, the changing face of Cleo Moguillansky—who we’ve seen growing up in her dad’s movies—becomes a theorem on cinema and time. (Victor Guimarães)

Alejo Moguillansky: LA PRISIONERA (2005), CASTRO (2009), EL LORO Y EL CISNE (2013), EL ESCARABAJO DE ORO (2014, KO-REGIE), LA VENDEDORA DE FÓSFOROS (2017), POR EL DINERO (2019), UN DÍA DE CAZA (2020, K), LA NOCHE SUBMARINA (2020), CARTA A ANTONIONI (2021, K), LA EDAD MEDIA (2022, KO-REGIE)