Gobierno de la Ciudad de Buenos Aires Festivales de Buenos Aires Agenda Cultural de Buenos Aires

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BAFICI + FIPRESCI x 15ir arriba

Some Argentine films are missing on this list, due to different reasons: there are the ones that never went through Bafici, the ones we couldn’t find a print of, and the ones left out when we decided to take one film for each director. We were also interested in making this list not necessarily a Greatest Hits, but a combination of unavoidable films and others we felt weren’t sufficiently acknowledged at the time.

Little Baficiir arriba

For the first time, a film from theLittle BAFICIsection appears in a different Festival section (and not just any section!): in an unprecedented swing, the Uruguayan filmAninawill participate in the International Competition. Apart from this, Little BAFICI will providelarge doses of wonder for children of all ages.

Argentine Competitionir arriba

Every year, theArgentine Competitionis a magnet for the audience and the international programmers who check out the films made in our country, those which will depart from BAFICI (almost always in the form of a world premiere) and will then take different roads on the international festival map. This year, the Argentine Competitionshowcases a great number of films but also of visions, with a remarkable variety of topics and approaches.

International Competitionir arriba

Since the very beginning, the BAFICI has bet on the “Cinema of the Future”, and for this reason its International Competitionhas sought to spotlight the career beginnings of filmmakers. This new edition has expanded the admission criteria to accept first, second and third films. In this way, the spirit of the competition is preserved, while a comprehensive overviewof today’s filmmaking is being provided.

Erich Langjahrir arriba

Born in 1944 in Switzerland, deep in his spirit Erich Langjahr is one of the filmmakers who best represents New Switzerland Cinema.

Ernesto Díaz Espinoza (Guest Country: Chile)ir arriba

Ernesto Díaz Espinoza ended up in the 2000 landscape of Chilean cinema by making films that go against the currents. Within a Chilean film production that tended to dissociate itself away from genres, Díaz submerged himself in them and built a personal body of work he tried, often erratically, to provide with statutes of identity.

Closing Nightir arriba

Two sophisticated, enjoyable and bittersweet films will be in charge of marking the beginning and end of the [15] BAFICI: on the one side,No, the film by Pablo Larraínthat has just competed for an Oscar; and on the other side, closing out the Festival,the premiere ofAu bout du conte, AgnèsJaoui’s new wonderful film.

Júlio Bressaneir arriba

The BAFICI is proud to dedicate one of this year’s three retrospectives to one of the most essential names in Brazilian cinema,who created a turbulent and prolific body of work turning his back on the Cinema Novo. He started to make films in the late ‘60s, and even though at the time he was close to such figures asGlauber Rocha, he quickly moved away from the official sphere. “When we createdBelair,we were expelled from the country, from the class of filmmakers,” saysBressane,in an interview that will be published in one of the Festival’s books, in reference to such break but also to his association with RogérioSganzerlafor the venture of Belair, a production company with which, as the legend says,they made six films in three months: the freedom and speed with which they createdmovies was such that this model of filmmaking isbeing studied today. He never stopped making films,and the exhibition in his honor in this edition of BAFICI can attest to that: 17 films ranging fromO anjonasceu andMatou a família e foiao cinema, both from 1969, to O Batuque dos astros, from 2012.

Lois Patiñoir arriba

Lois Patiño’s evolution in little over four years is amazing. The more playful his work is, the more beautiful it becomes; one can sense a growing feeling of joy, and so his extreme aestheticism does not invite paralysis, but dance.

Panoramair arriba

The greatest names of world cinema with their most recent films (Kiarostami, Assayas, Oliveira, Pedro Costa, the comeback of VíctorErice, Kawase, Seidl, Brisseau, Von Trotta, Weerasethakul, Jem Cohen, Kitano, Joss Whedon and more) and up-and-coming filmmakers who glow with a light of their own; there will be small spotlights of Brazilian and Israeli films, and a selection of very powerful Argentine films.

Avant-Garde & Genreir arriba

Another international competition is debuting this year: Avant-Garde & Genre, which comes in to replace Cinema of the Future. The reasons: both avant-garde and genre represent the extreme opposites of two types of filmmaking that move awayfrom the traditional and commonly acceptedmodel of what a festival film should be.By breaking away from the idea that genre films arefor late-night programming and that avant-garde films are destined for the museum, we look forward to rescuethis cinema andplaceit in a privileged position, as it has been a part of the history of BAFICI from the very beginning.


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