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Propiedad (1962)
Character: N/A
Mario Soffici's last film. The story is about a beautiful young woman who is criticized by the town's old gossip women and is defended by a generous priest. She has an amorous relationship with a young orphan.
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Isla brava (1958)
Character: N/A
A young man lives on the islands of the Delta del Tigre and remembers how his family defended themselves against invading outlaws.
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Muñequitas porteñas (1931)
Character: Don Antonio
A girl who sometimes mistreats her father, leaves her home and leaves her boyfriend, seduced by an adventurer who starts her as a tango singer. The father is jailed after shooting the seducer and she tries to commit suicide but her old boyfriend saves her, starting a more successful way.
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El linyera (1933)
Character: El Linyera
A homeless man returns to the countryside after traveling the world for years.
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El curandero (1955)
Character: N/A
A doctor arrives in a small, provincial town, and must pass himself off as a healer to gain the trust of its inhabitants.
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Oro bajo (1956)
Character: Don Enrique
The life of the tenants of a Buenos Aires tenement during the interwar period.
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Muñeca (1927)
Character: N/A
Mario Soffici's first introduction to film direction. Short made in 16mm, where he adapted some scenes from Armando Discepolo's script "Muñeca" as an experiment to compare the differences between theater and film. It was recorded in the dressing room courtyard of Teatro Avenida de Mendoza.
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Cómo se hace una película argentina (1948)
Character: N/A
Institutional short film planned and directed by Arturo S. Mom for the First Argentine Film Festival in Mar del Plata. The film shows the technical process by which an Argentine film is produced and emphasizes the professionalism and power of the national film industry. In this way, the story explains in a pedagogical way what is a script, a frame, a camera, a set sketch and a projected background, among others, and how a scene and the soundtrack of a film are recorded.
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Calles de Buenos Aires (1933)
Character: N/A
A girl from the suburbs is seduced by worldly life while another accepts her condition and conquers the love of a singer.
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Tierra del Fuego (1948)
Character: N/A
Several individual stories converge in the imposing setting of the southernmost tip of the continent, all of them involving a crisis of faith. Most of the important situations in the film are based on real episodes, such as the massacre of indigenous people perpetrated by the landowners in the area.
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Los muchachos de antes no usaban arsénico (1976)
Character: Martín Saravia
Mara Ordaz, a former film star who lives in an isolated mansion with her husband, her doctor and her money manager, decides to sell the house and return to Buenos Aires; but the three men do not agree with her decision.
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Rosaura a las 10 (1958)
Character: Padre de Rosaura
Out of the blue, a meek, old painter begins receiving love letters from Rosaura. This intrigues his fellow boarding house tenants, so they involve themselves into his relationship until one day the mysterious Rosaura appears.
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Los acusados (1960)
Character: Juez Santiago Ibáñez
The murder of a man is investigated by a judge but the documentation that the dead man possessed makes the investigation hampered by politicians.
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Barrio gris (1954)
Character: Gervasio, el pintor
Told in flashback, Federico lives in a poor neighbourhood with his siblings and his single mother, working helping in a local bar, he meets Claudio, who begins to lead him on an easy life making him abandon all his connections in consequence.
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