Series Site
"Wedding narratives stolen from classical fantasy stories (Treasure Island, Swan Lake, Hans Christian Andersen) to documentary-based portraits of artists struggling both creatively and financially, the films of Alejo Moguillansky can be equal parts Marxist and childish. Thriving on a playful dialectical struggle between truth and fiction, reality and fantasy, comedy and tragedy, content and form, aural and visual space – Moguillansky’s films are in a state of constant exploration. From THE PARROT AND THE SWAN – wherein the main character is also the film’s boom operator and the idea of cinematic subjectivity is taken comically new heights – to FOR THE MONEY, where Moguillansky’s real-life entry into a Colombian theater competition is imagined as the harbinger of insatiable greed and, ultimately, his own death – the very process of filmmaking is often the jumping off point for the film itself, leaving the movie to discover and construct its own aesthetic terrain as it unfolds.
"In addition to his work as a director Alejo Moguillansky is also one of the founding members of the Argentinian film collective El Pampero Cine with filmmakers Mariano Llinas, Laura Citrella, and Andres Mendilaharzu. Founded on a commitment to independence and collaboration the films of El Pampero are usually produced without institutional financing from grants or government funding using the collective’s own equipment and the founding members of the collective serve in important creative roles on each other’s projects. As part of this series we are proud to show a number of other films which Alejo Moguillansky worked on as an editor – Mariano Llinas micro-budget four-hour long Borgesian epic EXTRAORDINARY STORIES, Laura Citrella’s bitterly funny resort-set noir OSTENDE, and the first two films of Matias Pinero’s Shakespeare series, ROSALINDA and VIOLA. As evidenced by the prominent acting roles often given to his crew members, the films of Moguillansky thrive on collaborative creativity and these films feel as much a part of his body of work as his own." —Spectacle