Edgardo Cozarinsky

A poetic investigation into the possibilities of cinema, recovering the truth of the things that are see on the screen and reminding viewers of the persuasive power of the image, that sensitive magma where the dead dance and find their voices again.

Taking a breather from the crisis of her marriage, a surgeon named Celina visits the country house of an old friend who she hasn't seen since their university days. When she gets there, she realizes that something is going on with Paula, her friend's step daughter. Soon she learns that Paula attempted suicide, but Celina is in no shape to help anyone, because she is fleeing a dark secret of her own and has come to the worst place of all possible places to save herself. In the limbo of this hellish little town, her ghosts are reborn, infecting everyone around her...

Navigating the triple border that separates fiction, documentary and essay, in Dueto, writer and filmmaker Edgardo Cozarinsky and actor Rafael Ferro expose, in a confessional manner, the bond they have shared for many years, not only recalling but also retelling a handful of common stories. Some of them have to do with the origin of their relationship, others with its extremes, from the most tense to the most playful. However, all of them converge in a common denominator that keeps them together despite everything. Dueto is the story of two men who, without any shame, allow their friendship to affirm, with conviction, its real name—love. One that is sometimes tender and light, other times possessive and rough, but always ready for a generous indulgence that doesn’t need that of the flesh. The two of them turn Dueto into an oath made of film, in order to honor the pact of that powerful shared feeling.

The political history of Argentine film censorship narrated through the professional career of Néstor Gaffet (1928-1982), lawyer, film distributor and producer, publicist, occasional screenwriter, critic and teacher.

Chilean exiles in Paris discuss the problems facing them. They kidnap and attempt to re-educate a touring singer from their fatherland.

Are words, photographs and speeches sufficient means for describing and communicating a complex, harsh, unmanageable reality? These unsolved questions pursue Cassandra during her trip through the impenetrable Chaco as chronicler of a means of communication, her first job after graduating from literature school. The unknown reality of native peoples who live in the Chaco communities, their beautiful and uncomprehensive languages and their dilemmas facing an economy which excludes them, are part of a trip in which Cassandra finds an inhabitable world within her status as foreigner. Her visions start merging with the cosmovision of ancient inhabitants until she becomes part of the enigma herself.

In this surreal (and little seen) Argentinean film, a rich upper class family's secrets are exposed during the course of an evening meal. Tensions mount as emotions run high and taboo subjects are explored such as incest and politics. As their dinner table conversation begins to escalate into physical and verbal altercations, the family awaits the arrival of a friend named Hallewyn. When the night is over, will their friend still be joining them?

Over several days and nights, an actor and an actress read the correspondence between Torcuato and Kamala, the film director's parents, he from Argentina, and she from India. The letters, encompassing the decades from the 50s to the 70s, refer to love and idealism, record world travels, talk about socialism and psychoanalysis, about pain and broken dreams. Their reading reveals a relationship between the actors, with similarities and differences. Meanwhile, with his own daughter, the director sets about solving the puzzle of the family memory, an intimate twentieth-century tale.

A cinematographic meeting of four writers who are also actors, directors, teachers and playwrights. This multiplicity of trades is related to the word and the common point of two episodes four that compõem or film. Four stories, four protagonists: two men, two women who reflect, in different ways, on writing, reading, the generational clash and the creative process.

Reel 17 of Gérard Courant's on-going Cinematon series.

Follows a man as he silently goes through the desperation of a break-up. He aimlessly wanders the streets, meeting the night people of Buenos Aires; loners, thieves, fugitives, homeless, suicides, lovers and the ghost of the lost lover.

Follows a man as he silently goes through the desperation of a break-up. He aimlessly wanders the streets, meeting the night people of Buenos Aires; loners, thieves, fugitives, homeless, suicides, lovers and the ghost of the lost lover.

A long night's journey into day: Victor, a street hustler in the Santa Fe and Pueyrredón neighborhoods of Buenos Aires, from the evening of November 1, All Saints Day, to the dawn of November 2, All Souls Day. Victor's odyssey takes him from clients to friends to a gay gym then a hotel room and an all-night café. He plays pick-up soccer with kids whose parents are going through trash or waiting in parks. A vendor gives him a chrysanthemum. It seems he's being followed, and on the night streets, death is close at hand. Can Victor survive until dawn?

A long night's journey into day: Victor, a street hustler in the Santa Fe and Pueyrredón neighborhoods of Buenos Aires, from the evening of November 1, All Saints Day, to the dawn of November 2, All Souls Day. Victor's odyssey takes him from clients to friends to a gay gym then a hotel room and an all-night café. He plays pick-up soccer with kids whose parents are going through trash or waiting in parks. A vendor gives him a chrysanthemum. It seems he's being followed, and on the night streets, death is close at hand. Can Victor survive until dawn?

A long night's journey into day: Victor, a street hustler in the Santa Fe and Pueyrredón neighborhoods of Buenos Aires, from the evening of November 1, All Saints Day, to the dawn of November 2, All Souls Day. Victor's odyssey takes him from clients to friends to a gay gym then a hotel room and an all-night café. He plays pick-up soccer with kids whose parents are going through trash or waiting in parks. A vendor gives him a chrysanthemum. It seems he's being followed, and on the night streets, death is close at hand. Can Victor survive until dawn?

A thriller in which the characters are Latin-American exiles living in Paris. It is also a comedy about artists who play at revolution rather than actually participate in one

A very special coach. A group of Toba aborigines. A rugby ball. The jungle. The temptation of the past. A journey through the conscience of a leader.

Via the New York Times: "...a dialogue between found objects... the remarkably calm, somewhat banal wartime journals of Ernst Junger, a German writer and army officer living in occupied Paris in World War II, and newsreel footage of Paris as it really was."

Via the New York Times: "...a dialogue between found objects... the remarkably calm, somewhat banal wartime journals of Ernst Junger, a German writer and army officer living in occupied Paris in World War II, and newsreel footage of Paris as it really was."

Jean Cocteau reminisces about the people he has known throughout his long life.

The protagonist, or "the visitor" is a French writer who goes to Tanger for a research on all the complexity the place has shown, since WWI, in terms of nationality, colonialism, ethny and ethics -- Tanger itself appears as a great challenge to frontiers in general.

After a party, Agos and Ren find themselves in a strange place where they remember to have been before… A failed world bursting with dependences and doors leading to the same yet different place.

Michel, was born in Latin America, "on the other side of the world", as the script emphasizes, of a French father he hardly knew at all. He goes to Paris to start a new life. His only possession is a painting which his father left him, along with the advice: "If you ever need to sell the painting, do so in France, where it's worth a fortune." But Michel discovers that his father's tumultuous and secret past comes along with the valuable painting. Meanwhile, Clara, a middle age Spanish-Argentine mother gets a strange present from a now dying childhood friend in Buenos Aires. It's a roll of Super 8 film which brings back very strong, and emotionally charged memories from the 1970s and before.

Michel, was born in Latin America, "on the other side of the world", as the script emphasizes, of a French father he hardly knew at all. He goes to Paris to start a new life. His only possession is a painting which his father left him, along with the advice: "If you ever need to sell the painting, do so in France, where it's worth a fortune." But Michel discovers that his father's tumultuous and secret past comes along with the valuable painting. Meanwhile, Clara, a middle age Spanish-Argentine mother gets a strange present from a now dying childhood friend in Buenos Aires. It's a roll of Super 8 film which brings back very strong, and emotionally charged memories from the 1970s and before.

A short documentary about the making of Chaplin's "Limelight."

Edgardo Cozarinsky journeys in the footsteps of his father's family, to retrace the existence of a Jewish community founded in the late 19th century in the Entre Ríos.

Edgardo Cozarinsky journeys in the footsteps of his father's family, to retrace the existence of a Jewish community founded in the late 19th century in the Entre Ríos.

Navigating the triple border that separates fiction, documentary and essay, in Dueto, writer and filmmaker Edgardo Cozarinsky and actor Rafael Ferro expose, in a confessional manner, the bond they have shared for many years, not only recalling but also retelling a handful of common stories. Some of them have to do with the origin of their relationship, others with its extremes, from the most tense to the most playful. However, all of them converge in a common denominator that keeps them together despite everything. Dueto is the story of two men who, without any shame, allow their friendship to affirm, with conviction, its real name—love. One that is sometimes tender and light, other times possessive and rough, but always ready for a generous indulgence that doesn’t need that of the flesh. The two of them turn Dueto into an oath made of film, in order to honor the pact of that powerful shared feeling.

Navigating the triple border that separates fiction, documentary and essay, in Dueto, writer and filmmaker Edgardo Cozarinsky and actor Rafael Ferro expose, in a confessional manner, the bond they have shared for many years, not only recalling but also retelling a handful of common stories. Some of them have to do with the origin of their relationship, others with its extremes, from the most tense to the most playful. However, all of them converge in a common denominator that keeps them together despite everything. Dueto is the story of two men who, without any shame, allow their friendship to affirm, with conviction, its real name—love. One that is sometimes tender and light, other times possessive and rough, but always ready for a generous indulgence that doesn’t need that of the flesh. The two of them turn Dueto into an oath made of film, in order to honor the pact of that powerful shared feeling.

A TV movie by Edgardo Cozarinsky.

A TV movie by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

A TV movie by Edgardo Cozarinsky.

A TV movie by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

A documentary by Edgardo Cozarinsky.

A film by Edgardo Cozarinsky.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

This French documentary pays homage to a young man whose passion left a rich and valuable legacy to the world of cinema. Henri Langlois was one of the co-founders of the Cinematheque Francaise, a museum which contains many rare artifacts from early cinema as well as one of the most extensive film archives in the world. This documentary will be most meaningful for those already familiar with Langlois' story. Through old film clips and interviews, Langlois is seen as an eccentric but charismatic young visionary obsessed with preserving and locating old films. Filmmaker Edgardo Cozarinsky uses scenes from Citizen Kane to compare the portly iconoclast to Charles Foster Kane, in that both Langlois and Welle's fictional newspaper magnate where avid collectors, and both were men of mystery.

This French documentary pays homage to a young man whose passion left a rich and valuable legacy to the world of cinema. Henri Langlois was one of the co-founders of the Cinematheque Francaise, a museum which contains many rare artifacts from early cinema as well as one of the most extensive film archives in the world. This documentary will be most meaningful for those already familiar with Langlois' story. Through old film clips and interviews, Langlois is seen as an eccentric but charismatic young visionary obsessed with preserving and locating old films. Filmmaker Edgardo Cozarinsky uses scenes from Citizen Kane to compare the portly iconoclast to Charles Foster Kane, in that both Langlois and Welle's fictional newspaper magnate where avid collectors, and both were men of mystery.

M., a right wing priest, discovers through three key meetings - with the army, a bourgeois family and a "third-worldist" priest - that your ideology is out of time.

M., a right wing priest, discovers through three key meetings - with the army, a bourgeois family and a "third-worldist" priest - that your ideology is out of time.

In a mysterious space, bodies of dancers work on the rhythms cultivated by the orchestras of Buenos Aires.

A man sets out to gather traces of what impressed him in his life. Over the years, he accumulates voices, music, images from distant countries, historical moments, and loved ones. Some of them are found objects, others he has made himself. At some point, he realizes that this labyrinth of fragments traces the image of his face.

A man sets out to gather traces of what impressed him in his life. Over the years, he accumulates voices, music, images from distant countries, historical moments, and loved ones. Some of them are found objects, others he has made himself. At some point, he realizes that this labyrinth of fragments traces the image of his face.

1938: Shostakovich encourages his pupil Fleischmann to write an opera based on the Chekhov story 'Rothschild's violin'. Fleischmann is killed during the siege of Leningrad. Shostakovich completes the orchestration, but in 1948 is advised to suppress the opera, during Stalin's campaign against "rootless cosmopolitans". Jewish motifs enter Shostakovich's own work.

1938: Shostakovich encourages his pupil Fleischmann to write an opera based on the Chekhov story 'Rothschild's violin'. Fleischmann is killed during the siege of Leningrad. Shostakovich completes the orchestration, but in 1948 is advised to suppress the opera, during Stalin's campaign against "rootless cosmopolitans". Jewish motifs enter Shostakovich's own work.

In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.

A thriller in which the characters are Latin-American exiles living in Paris. It is also a comedy about artists who play at revolution rather than actually participate in one

Scarlatti in Seville, a work that is part of the Opus series produced by Mildred Clary for the French National Audiovisual Institute where a series of performers talk about the musicians they play and the reason for their choice, jumps, insinuating much through the parallel montage, from the representation of the dark palace to a palm tree caressed by the wind in the Alcazar of Seville. And from there little more will be said about Scarlatti, whose signature we do not even know, but we will hear his music, mostly played by the German pianist Christian Zacharias, who will also talk about his obsession with the Italian composer's work.

Scarlatti in Seville, a work that is part of the Opus series produced by Mildred Clary for the French National Audiovisual Institute where a series of performers talk about the musicians they play and the reason for their choice, jumps, insinuating much through the parallel montage, from the representation of the dark palace to a palm tree caressed by the wind in the Alcazar of Seville. And from there little more will be said about Scarlatti, whose signature we do not even know, but we will hear his music, mostly played by the German pianist Christian Zacharias, who will also talk about his obsession with the Italian composer's work.

A comic strip detective and a superhero are hired to investigate separatedly the successive murders of CEOs within a real life corporation symbolizing a nation, while subversive groups and members of the establishment lead a war for power.

Patagonia, Argentina, 1880s. During the Conquest of the Desert, Marguerite, the French wife of Colonel Garay, in charge of protecting a new railway, discovers that a French woman is being held captive by the local natives.

In this documentary about the exile of two famous French actors in Argentina during and after World War II, the director Cozarinsky returns to Argentina after many years in France and recalls places and events from his childhood, particularly the celebration of the liberation of Paris on in August of 1944, in Buenos Aires's Plaza Francia. Featuring testimony from various authors and acquaintances of Maria (Renee) Falconetti and Robert Le Vigan, the film explores their lives and final years in Argentina.

A film portrait of Argentinian pianist Margarita Fernández. Medium makes her visible as a mediator, building bridges between past and present, different generations, scores and music, sounds and images, her own art and that of cinema.

Film essay on the mystical dimension of Tarkovsky's cinema.

Film essay on the mystical dimension of Tarkovsky's cinema.

Patagonia, Argentina, 1880s. During the Conquest of the Desert, Marguerite, the French wife of Colonel Garay, in charge of protecting a new railway, discovers that a French woman is being held captive by the local natives.

A cinematographic meeting of four writers who are also actors, directors, teachers and playwrights. This multiplicity of trades is related to the word and the common point of two episodes four that compõem or film. Four stories, four protagonists: two men, two women who reflect, in different ways, on writing, reading, the generational clash and the creative process.

A cinematographic meeting of four writers who are also actors, directors, teachers and playwrights. This multiplicity of trades is related to the word and the common point of two episodes four that compõem or film. Four stories, four protagonists: two men, two women who reflect, in different ways, on writing, reading, the generational clash and the creative process.

Patagonia, Argentina, 1880s. During the Conquest of the Desert, Marguerite, the French wife of Colonel Garay, in charge of protecting a new railway, discovers that a French woman is being held captive by the local natives.

A very special coach. A group of Toba aborigines. A rugby ball. The jungle. The temptation of the past. A journey through the conscience of a leader.