Odiseas, costumbres y extravagancias. Una cierta tendencia del cine argentino

KRATJE, JULIA; DAGATTI, MARIANO

deSignis

Federación Latinoamericana de Semiótica (La Crujía)

Lugar: Buenos Aires; Año: 2018 vol. 27 p. 207 - 222

1578-4223

The artistic experience centered around El Pampero, the producer created and directed by Mariano Llinás, Laura Citarella, Alejo Moguillansky and Agustín Mendilaharzu, has simultaneously exploded two of the guiding characteristics of Argentine cinema since the new millennium: without subsidies of the State, has opted for a film of the story and of the action, at a distance from the cinema of sensations, climates and perceptions that had characterized (and still characterizes) a main part of the current independent cinema. If the formal renewal promoted since the mid-nineties involves unavoidable changes in the statute of the political, the films of Mariano Llinás, Alejo Moguillansky, Santiago Mitre and Matías Piñeiro, which this article intends to analyze, contain an anti-political position through enunciation strategies such as games, deceptions, emphasis, hermetisms and disaffection.