La edad media

Perfecting the art of the lockdown, what might that look like? The pandemic is raging in Buenos Aires, and filmmaker Alejo and dancer Luciana are cooped up in their flat with their young daughter Cleo and their greyhound Juana, whose various searching looks will hardly form the only source of amusement. Days blur into weeks and months, as the droll intertitles indicate, and money is tight from the start; filmmaking and dancing are hardly lucrative professions at the best of times and these are far from that. Alejo barks commands at a screen after starting to direct an adaptation of Waiting for Godot remotely and Luciana bounds around the flat giving dance classes via Zoom, leaving Cleo to her own devices: children with time on their hands can be creative indeed, the moon is a strange mistress and moneymaking involves artistry too.
This wonderfully absurdist lockdown comedy is at once a sly autofiction, a portrait of family life under Covid which anyone can relate to and a biting satire on the pressures of making art in late phase capitalism, pandemic or no pandemic. If everything is for sale, right down to each individual quirk and imaginative gesture, maybe it really is time to pack up and leave. (James Lattimer)

In the presence of Alejo Moguillansky.

Alejo Moguillansky: LA PRISIONERA (2005), CASTRO (2009), THE PARROT AND THE SWAN (2013), THE GOLD BUG (2014), THE LITTLE MATCH GIRL (2017), FOR THE MONEY (2019), HUNTING DAY (2020, K, Co-Director), THE UNDERWATER NIGHT (2020), LETTER TO ANTONIONI (2021, K)
Luciana Acuña: HUNTING DAY (2020, K, Co-Director)