The Movement was an unplanned feature film. In October 2014, Benjamin Naishtat, with whom we were developing a film called Rojo, called us and asked if we would like to join a new feature film called The Movement. He told us he didn't have a final script, but he did have support from the JEONJU Cinema Project and a given release day.

The story is set in a dark period of Argentina's founding, a time of great violence and chaos. We were overcome with enthusiasm and the challenge ahead. We also became filmmakers with a detective spirit. We got into a car and crossed the Pampas plains, searching for footprints of traces left on the surface from that time. Kilometers and kilometers of roads, countryside, villages, monuments, and ruins continued until we reached a salty lake that, in flood, managed to cover an entire village. We knew that this was the place where the story would be completed. We had the opportunity to work with complete freedom in a race against the clock. It was a carte blanche full of vertigo and creativity, with time as the only condition.  written by Producer Federico Eibuszyc, Barbara Sarasola-Day, and Diego Dubcovsky

History of Fear (2014), Rojo (2018), Puan (2023, Co-directer María ALCHÉ)

Contain the Truth of Revolution
Benjamín Naishtat's The Movement is the nightmare-shaped version of what happens after a revolution. Streams of history go through the film: the nation's early years—between freedom from the colonizer and the signing of its basis, the constitution—are weaved with ideas of the present. To study how moments of history relate, the film goes to the land (which is timeless) and to those who were left alone to walk upon it (both then and now). These are the few elements that we can see and hear: dark, indiscernible rooms, costumes in rags, some tents, and a few blunt knives. A handful of characters are touched by the sharp light of historical speculation, which gets more and more abstract. Slowly what we see could be the past, but it could also be what the near future can bring. A leading madman is looking for acolytes for the movement in a place forgotten by god. He searches for them in the gutter, where the reason has no place to sleep. The actor, Pablo Cedrón, is the only artifice of a period piece so austere that he almost seems to be walking naked. His voice, his face, the way his eyebrows move with the expression of his eyes… gestures, and the way words are articulated in the center of the film. Next to him are others, actors and non-actors, who explore and embody these old, lawless times. Lucía SALAS

Production Pucará Cine (fedetut@gmail.com), Varsovia Films (info@varsoviafilms.com)
Distribution Cinetren
International Sales Pucará Cine (fedetut@gmail.com), Varsovia Films (info@varsoviafilms.com)

2015 Locarno Golden Leopard Filmmakers of the Present (Nominee)

2015 Mar del Plata IFF Best Argentinian Film (Winner)

2015 Valdivia IFF Special Jury Award (Winner)

2016 Uruguay IFF Critics Award - Special Mention

2016 Pachamama Festival Best Films·Best Director (Winner)