Silvio Fischbein, 1949, artista visual y director de cine, vive y trabaja en Buenos Aires. Recibió los títulos de Arquitecto, año 1974 y Urbanista, año 1980, de la Universidad de Buenos Aires. Es Profesor Consultor de la Universidad de Buenos Aires. Participó en la creación y dirigió las Escuelas Audiovisuales de ORT, Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires, Facultad de Arte de la Universidad Nacional del Centro. Como guionista y director, realizó 30 cortometrajes, 5 largometrajes y 2 videoarte. Obtuvo el Premio George Meliès del Gobierno de Francia en 1984. Desde 1965, en las artes visuales, ha realizado 40 exposiciones individuales en el país y en el exterior, y ha participado en salones y exposiciones colectivas. Fue becado en varias ocasiones por los Gobiernos de Canadá y Francia. Entre otras distinciones, obtuvo la Beca Pollock – Krasner Foundation, 2015 y 2018. En 2021 obtuvo el 1er. Premio en la 26 Bienal de Arte Textil, Argentina. Presidió en repetidas ocasiones la Asociación Iberoamericana de Escuelas Audiovisuales y perteneció al comité ejecutivo de la Asociación Internacional de Escuelas de Cine y TV, CILECT. Actualmente preside AAVRA, Asociación de Artistas Visuales de la República Argentina.
Silvio Fischbein, 1949, visual artist and film director, lives and works in Buenos Aires. He received the titles of Architect, year 1974 and Urban Planner, year 1980, from the University of Buenos Aires. He is Consulting Professor at the University of Buenos Aires. He participated in the creation and directed the Audiovisual Schools of ORT, Faculty of Architecture, Design and Urbanism of the University of Buenos Aires, Faculty of Art of the National University of the Center. As a screenwriter and director, he made 30 short films, 5 feature films and 2 video art. He obtained the George Meliès Prize from the Government of France in 1984. Since 1965, in the visual arts, he has held 40 individual exhibitions in the country and abroad, and has participated in salons and collective exhibitions. He was awarded scholarships on several occasions by the Governments of Canada and France. Among other distinctions, he obtained the Pollock – Krasner Foundation Scholarship, 2015 and 2018. In 2021 he obtained the 1st. Award at the 26th Biennial of Textile Art, Argentina. He repeatedly presided over the Ibero-American Association of Audiovisual Schools and belonged to the executive committee of the International Association of Film and TV Schools, CILECT. He currently chairs AAVRA, Association of Visual Artists of the Argentine Republic.
Pedro Bloch foi um médico foniatra, jornalista, compositor, poeta, dramaturgo e autor de livros infanto-juvenis. Escreveu mais de cem livros. Era naturalizado brasileiro.Sua família judeu imigrou para o Brasil no início do século XX. Cursou a Faculdade Nacional de Medicina da Praia Vermelha atual Faculdade de Medicina da Universidade Federal do Rio de Janeiro. Chegou a lecionar na PUC do Rio de Janeiro.Dentre seus muitos livros estão Pai, me compra um amigo?, Nesta data querida e Chuta o Joãozinho para cá. Escreveu também as peças teatrais Dona Xepa e As Mãos de Eurídice. Mais de 50 do seus livros foram inspiradas quando ele atendia crianças, exercendo sua profissão de médico. A sua mais conhecida obra teatral, As mãos de Eurídice, estreou em 13 de maio de 1950 repetiu-se mais de 60 mil vezes, em mais de 45 países diferentes. Dois anos depois, escreveu outro sucesso teatral, Dona Xepa, que foi adaptada para o cinema e uma telenovela da Rede Globo. Como jornalista, trabalhou na revista Manchete e no jornal O Globo.
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Pedro Bloch was a phoniatrician, journalist, composer, poet, playwright and author of children’s books. Wrote over a hundred books. He was naturalized Brazilian. His Jewish family immigrated to Brazil in the beginning of the 20th century. He studied at the National Faculty of Medicine of Praia Vermelha, currently the Faculty of Medicine of the Federal University of Rio de Janeiro. He taught at PUC in Rio de Janeiro. Among his many books are Father, can you buy me a friend?, On this date dear and Chuta Joãozinho. He also wrote the plays Dona Xepa and As Mãos de Eurídice. More than 50 of his books were inspired when he attended children as a doctor. His best-known theatrical work, The Hands of Eurydice, premiered on May 13, 1950 and has been repeated more than 60,000 times, in over 45 different countries. Two years later, he wrote another theatrical success, Dona Xepa, which was adapted for cinema and a telenovela by Rede Globo. As a journalist, he worked for Manchete magazine and O Globo newspaper.
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Contribiçãos de Pedro Bloch/ Pedro Bloch’s Contributions
Humor infantil/Children’s Humor
Children’s Humor
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Pedro Bloch passou toda a sua vida como médico e escritor coletando as maravilhas que saem da boca das crianças. São definições espontâneas, trechos poéticos, descobertas extremamente
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Pedro Bloch spent his entire life as a doctor and writer collecting the wonders that come out of children’s mouths. They are spontaneous definitions, poetic extracts, extremely funny findings:
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ALEGRIA – É um palhacinho no coração da gente.
JOY – It’s a clown in people’s hearts.
AMAR – É pensar no outro, mesmo quando a gente nem tá pensando.
LOVE – It’s thinking about the other, even when we’re not even thinking.
ADULTO – É uma pessoa que não entende de chuva, criança ou bala.
ADULT – It is a person who does not understand rain, children or bullets. BOCA – É a garagem da língua.
MOUTH- It’s the tongue’s garage.
BEBÊ – É uma coisa que ainda tem a cabeça verde. Não funciona como a
gente.
BABY – It’s something that still has a green head. It doesn’t work like us.
CABELO – É uma coisa que serve pra gente não ficar careca.
HAIR – It’s something that helps us not to go bald.
CALCANHAR – É o queixo do pé.
HEEL – It’s the chin of the foot.
COBRA – É um bicho que só tem rabo.
COBRA – It’s an animal that only has a tail.
CHOCOLATE – É uma coisa que a gente nunca oferece aos amigos porque eles aceitam.
CHOCOLATE – It’s something we never offer our friends because they accept it.
DIA – Hoje é amanhã de ontem
DAY – Today is yesterday’s tomorrow.
ESPERANÇA – É um pedaço da gente que sabe que vai dar certo.
HOPE – It’s a part of us that knows it’s going to work.
INFERNO – É um lugar onde a gente morre muito mais.
HELL – It’s a place where people die a lot more.
JUÍZO – É fazer tudo o que mamãe acha que tá certo, mesmo quando está errado.
JUDGMENT – It’s doing everything that Mom thinks is right, even when it’s wrong.
JARDIM ZOOLÓGICO – O bicho que eu mais gostei, no jardim zoológico, foi o vendedor de sorvete.
ZOO – The animal that I liked the most, at the zoo, was the ice cream seller.
MÃE – Quando você era menina, quem era minha mãe?
MOTHER – When you were a girl, who was my mother?
NOITE – É o dia com luz apagada.
NIGHT – It’s the day with the lights off.
NEVOEIRO – É poeira do frio.
FOG – It’s cold dust
PACIÊNCIA – É uma coisa que a mamãe perde sempre.
PATIENCE – It’s something Mom always misses.
REDE – É uma porção de buracos amarrados com barbante.
NET – It’s a bunch of holes tied with string
RELÂMPAGO – É um barulho rabiscando o céu.
LIGHTNING – It’s a noise scratching the sky.
TRISTEZA – É uma criança com gesso no pé, sem assinatura.
SADNESS – It’s a child with a plaster cast on his foot, without a signature.
XINGAR – Quando eu xingo a minha avó, só xingo a metade que é do meu irmã
CURSING – When I swear at my grandmother, I only swear at the half that belongs to my brother.
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Livros para crianças/Children’s Books
Bar Mitzvá
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Biografia e religião/Biography and Religion
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Muitos tentaram explicar Deus.Einstein dizia que era o mistério insondável do universo. Os outros falaram em infinito, em Energia Universal, em mil coisas mais. Se descreveram o paraíso, purgatório e inferno. Se descreveram milgares, mil preces foram rezadas, mil formas Lhe foram atribuídas. Para meu pai Deus era tão obvio, estava tão ao seu lado em seu livro de orações e nos cânticos da sinagoga, que qualquer prova mais concreta de Sua existência lhe causaria a maior revolta. Deus para ele, era DEUS. Quem precisava de prova maior?
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Many tried to explain God. Einstein said it was the unfathomable mystery of the universe. The others spoke of infinity, Universal Energy, a thousand more things. Paradise, purgatory and hell were described. Thousands were described, a thousand prayers were said, a thousand forms were attributed to Him. To my father God was so obvious, was so close to him in his prayer book and in the chants of the synagogue, that any more concrete proof of His existence would have caused him the greatest revolt. God to him was GOD. Who needed greater proof?
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Drama e Cinema/Drama and Movies
A mãos de Eurîice — The Hands of Euriice
Gumercindo Tavares volta para casa oito anos depois de trocar a esposa Dulce pela amante. Sem dinheiro e sem o prazer que as delicadas mãos de Eurídice lhe proporcionaram, ele espera encontrar sua fiel esposa cuidando da família. A casa está vazia e a solidão traz-lhe memórias dos conflitos que o levaram a abandonar a família: A mulher que não parava em casa, os filhos que incomodavam a casa, a sogra tagarela, o sogro lunático direito. E Eurydice, jovem, alegre com suas mãos sempre amorosas, deslizando gentilmente no tapete, vencendo, perdendo, perdendo, vencendo … O fim do casamento, a aventura com o novo relacionamento e seu trágico fim. Gumercindo vasculha gavetas em busca de algo que comprove a desconfiança que sempre teve do interesse do professor de música por Dulce. Ele encontra coisas que traem o tempo: O filho teve complicações de saúde e não existe mais, a menina se casou. E Dulce?
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Sindo Filipe como Gumersindo/Sindo Filipe as Gumersido
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Gumercindo Tavares returns home eight years after exchanging his wife Dulce for his mistress. Without money and without the pleasure that Eurydice’s delicate hands gave him, he hopes to find his faithful wife taking care of the family. The house is empty and loneliness brings him memories of the conflicts that led him to leave his family: The woman who did not stop at home, the children who disturbed the house, the talkative mother-in-law, the lunatic father-in-law… And Eurydice, young, joyful with her ever loving hands, gentle sliding on the carpet, winning, losing, losing, winning… The end of marriage, the adventure with the new relationship and its tragic end. Gumercindo rummages through drawers looking for something to prove the suspicion he always had of the music teacher’s interest in Dulce. He finds things that betray time: The son had health complications and no longer exists, the girl got married. And Dulce?
Fotos de Lene Schneider-Keiner como actriz, pintora,fotógrafa y viajera/ Photos of Lene Schneider-Keiner as a actrice, painter, photographer and traveler
Lene Schneider-Keiner nació en 1885, en Viena, Austria, en una familia judía. Estudió pintura en Viena y en Munich. La suya es la historia de una mujer judía creativa, independiente y rompedora de fronteras que se adelantó a su tiempo. Lene Schneider-Keiner fue una pintora y diseñadora de moda en Berlín en la década de 1920 que navegó por el escándalo, se vistió de hombre para dedicarse a su arte, se divorció de su marido y viajó por partes poco visitadas de Asia y Oriente Medio en el camino de Marco Polo. De 1926 a 1928, participó en una expedición a Asia, que la llevó a ella y al autor Bernhard Kellermann a Irán, Ladakh (Klein-Tibet), India, Tailandia y China. Luego se trasladó a Berlín, donde fue apoyada por la Academia de Bellas Artes de Prusia y la Villa Másimo en Roma. Tras una estancia en España en la década de 1930, se instaló en Nueva York y más tarde en Berlín. Ella escapó y se mantuvo unos pasos por delante de los nazis, y finalmente se dirigió a la ciudad de Nueva York, luego a Cochabamba, Bolivia, donde en 1954 se había mudado para encontrarse con familiares que se establecieron allí después de huir de los nazis. En Cochabamba, Bolivia, donde se hizo conocida como Elena Eleska, murió en 1971. ___________________________________________________
Lene Schneider-Keiner was born in 1885, in Vienna, Austria, to a Jewish family. She studied painting in Vienna and Munich. Her’s is the story of a creative, independent and border-breaking Jewish woman who was ahead of her time. Lene Schneider-Kainer was a painter and fashion designer in Berlin in the 1920s who navigated scandal, dressed as a man to pursue her art, divorced her husband, and traveled through little-visited parts of Asia and the Middle East. on the road to Marco Polo. From 1926 to 1928, she participated in an expedition to Asia, which took her and author Bernhard Kellermann to Iran, Ladakh (Klein-Tibet), India, Thailand, and China. She then moved to Berlin, where she was supported by the Prussian Academy of Fine Arts and the Villa Másimo in Rome. After a stay in Spain in the 1930s, she settled in New York and later in Berlin. She escaped and stayed a few steps ahead of the Nazis, eventually making her way to New York City, then Cochabamba, Bolivia, where in 1954, she moved to meet relatives who settled there after fleeing the Nazis. In Cochabamba, Bolivia, where she became known as Elena Eleska, she died in 1971.
Pinturas de sus viajes inmensos sobre la ruta de Marco Polo y más visitas del mundo/Paintings from her enormous journeys following the Route of Marco Polo and other visits around the world
Una mujer ladok de la Himalayas/A Laddock woman from the Himalayas
Un lama de las Himalayas/A lama from the Himalayas
Mujer china con bebé/Chinese Woman with Baby
Una mujer del Golfo de Persia/A Woman of the Persian Gulf
Attork
Bailarina de Siam/Siamese Dancing Girl
Una madre jóven de Persia/A Young Mother from Persia
Una mendiga en Persio/A Woman Beggar in Persia
Dos hombres de la India con frutas/Two men from India with fruit __________________________
El mercado de Peking/The Pekin market
Pueblo en las montañas Altas de Moroco/A Village in the Atlas Mountains of Morocco
Divina Gloria (Martha Gloria Goldsztern) nació en Buenos Aires, Argentina en 1962, y es una actriz.comediante y cantante. En su rol de cantante ha interpretado un repertorio amplio y original, que incluye pop, rock, jazz, tango y otros ritmos tradicionales. Además, su particular estilo y personalidad la han destacado desde los inicios de su carrera, siendo considerada una representante de la vanguardia artística argentina durante algún tiempo. Divina Gloria cursó estudios de teatro, baile, canto y actuación en el Instituto Lavardén en Buenos Aires, de comedia musical en la escuela de Pepe Cibrián Campoy y se perfeccionó junto a Robertino Granados (teatro), Bill Hastings (musical), y Juan Virasoro y Rodolfo Olguín (danza). Tiene un hijo llamado León Goldsztern. Comenzó su carrera con el recordado humorista Alberto Olmedo en sus sketches. Participó en varias películas y obras teatrales y en los espectáculos: Alicia maravilla, Vivitos y coleando, Locos recuerdos y Sin compasión, entre otros. En televisión, participó de éxitos masivos como No toca botón, El Gordo y el Flaco y Jugate conmigo . Además, participó en decenas de programas de ficción, entre los que se destacan Chiquititas, Poliladron, Gasoleros, Costumbres argentinas y Cuando me sonreís. En el ámbito del teatro protagonizó comedias, revistas, dramas y musicales, siendo dirigida por profesionales de la talla de Pepe Cibrián Campoy, Enrique Pinti, Jean François Casanovas, Carlos Evaristo, , Renata Schussheim, Hugo Sofovich y Alberto Ure. Su obra teatral Zeide Shike fue un éxito de público y de crítica, presentándose durante dos años consecutivos. En cine, formó parte de los elencos de reconocidas películas como Los gauchos judíos, El manosanta está cargado, Los pilotos más locos del mundo, Almejas y mejillones, Chicos ricos o Peperina. Su carrera discográfica se inició en 1985, con el lanzamiento de Desnudita es mejor. En su repertorio discográfico se combinan diferentes ritmos: el pop de Caliente, Lo divino y lo dorado y Mar de amores, el jazz en Las rosas del hampa y la world music de Shalom, Baby, donde se destacan los tangos en idisch que le aportaron una proyección internacional, que incluyó presentaciones en varias ciudades de los Estados Unidos y la emisión en radios europeas e israelíes. También grabó como artista invitada junto a Willy Crook y Daniel Melingo, y es la voz principal de la orquesta de tango Karavanah, la cual fusiona música rioplatense con ciertos elementos de la música jasídica, con letras en yidis y algunos cóvers de antiguos tangos.
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Divina Gloria, actriz de cine/movie actrice
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Divina Gloria (Martha Gloria Goldsztern) was born in Buenos Aires, Argentina, 1962, and is an actress, mediator and singer. In her role as a singer she has performed a wide and original repertoire, which includes pop, rock, jazz, tango and other traditional rhythms. In addition, her particular style and personality have highlighted her since the beginning of her career, being considered a representative of the Argentine artistic avant-garde for some time. Divina Gloria studied theater, dance, singing and acting at the Lavardén Institute in Buenos Aires, musical comedy at the Pepe Cibrián Campoy school and perfected her skills with Robertino Granados (theater), Bill Hastings (musical), and Juan Virasoro and Rodolfo Olguín (dance). She has a son named Leon Goldsztern. She began her career with the well-remembered comedian Alberto Olmedo in his sketches. She participated in several films and plays and in the shows: Alicia marvel,Vivitos y coleando, Crazy memories and Sin compasión, among others. On television, she participated in massive hits such as No toca button, El Gordo y el Flaco and Jugate conmigo In addition, she participated in dozens of fiction programs, including Chiquititas, Poliladron, Gasoleros, Argentine Customs and When I smile. In the field of theater, she starred in comedies, magazines, dramas and musicals, being directed by professionals such as Pepe Cibrián Campoy, Enrique Pinti, Jean François Casanovas, Carlos Evaristo,, Renata Schussheim, Hugo Sofovich and Alberto Ure. Her play Zeide Shike was a critical and public success, performing for two consecutive years. In cinema, she was part of the cast of well-known films such as The Jewish Gauchos, Manosanta is loaded, The craziest pilots in the world, Clams and mussels, Rich boys or Peperina. Her recording career began in 1985, with the release of Desnudita es mejor. In her record repertoire different rhythms are combined: the pop of Caliente, Lo divino y lo dorado and Mar de amores, jazz in Las rosas del underworld and the world music of Shalom, Baby, where the tangos in Yiddish that they contributed to her stand out. an international projection, which included presentations in several cities in the United States and broadcast on European and Israeli radios. She also recorded as a guest artist with Willy Crook and Daniel Melingo, and is the main voice of the Karavanah tango orchestra, which fuses River Plate music with certain elements of Hasidic music, with lyrics in Yiddish and some covers of ancient tangos.
Ben Molar nació en Buenos Aires en 1915. Fue autor, compositor, difusor, productor y promotor artístico. Se destacó por producir versiones en español de las canciones más famosas de la época, como “Las hojas muertas”, “Repican las campanas”, “Noche de paz, noche de amor”, etc. Algo similar con canciones de “Los Beatles ”, Paul Anka, Elvis Presley y muchos otros. Era común leer en las piezas musicales o en las etiquetas de los álbumes: “versión en español Ben Molar”. No fueron traducciones literales, sino interpretaciones idiomáticas que facilitaron su comprensión en Argentina y países de América Latina. Cabe mencionar la composición de boleros famosos como “Final”, “Sin importancia” y “Empecemos de nuevo”, escritos junto a Paul Misraki , famoso músico y autor turco francés, durante su exilio en Buenos Aires. Fue el responsable del éxito de figuras como Mercedes Sosa, Sandro, “Los Cinco Latinos”, Lito Nebbia. “Abuelos de la nada”. Creó “El Club del Clan” y fue el principal impulsor de Palito Ortega. Creó el sello musical “Fermata”, con el que produjo en 1966 el disco titulado “14 con el tango”. Supuso la creación de 14 piezas musicales y 14 pinturas que reunieron a las figuras más destacadas de cada categoría. El resultado de este esfuerzo incrementó la difusión del tango, en un período desfavorable. En 1995, “Fermata” produjo “Los 14 con Julio Caro”, un homenaje al Maestro, por famosos solistas de tango. Se casó con la actriz de cine Pola Newman, con quien tuvo dos hijos. Fue Presidente de Honor de la Asociación de Gardeliana Argentina, Miembro de la Academia Porteña del Lunfardo, Miembro de la CD del Instituto Cultural Argentino Israelí y Ciudadano Ilustre de Buenos Aires.
Ben Molar, was born in Buenos Aires in 1915. He was an author, composer, diffuser, producer and artistic promoter. He stood out for producing Spanish versions of the most famous songs of the time, such as “Las hojas muertas”, “Repican las campanas”, “Noche de paz, noche de amor”, etc. Something similar with songs from “ The Beatles”, Paul Anka, Elvis Presley and many others. It was common to read in the pieces of music or on the labels of the albums: “version in Spanish Ben Molar”. They were not literal translations, but idiomatic interpretations that facilitated their understanding in Argentina and Latin American countries.It is worth mentioning the composition of famous boleros such as “Final”, “Unimportant” and “Let’s Start Again”, written together with Paul Misraki, famous French Turkish musician and author, during his exile in Buenos Aires. He was responsible for the success of figures such as Mercedes Sosa, Sandro, “Los Cinco Latinos”, Lito Nebbia. “Grandparents of Nothing.” He created “El Club del Clan” and was the main promoter of Palito Ortega. He created the musical label “Fermata”, with which he produced in 1966 the album entitled “14 con el tango”. It meant the creation of 14 musical pieces and 14 paintings bringing together the most notable figures in each category. The result of this effort increased the diffusion of tango, in an unfavorable period. In 1995, “Fermata” produced “Los 14 con Julio De Caro”, a tribute to the Maestro, by famous tango soloists. He married film actress Pola Newman, with whom he had two children. He was Honorary President of the Argentine Gardeliana Association, Member of the Porteña del Lunfardo Academy, Member of the CD of the Argentine Cultural Institute Israeli and Illustrious Citizen of Buenos Aires.
Películas judío-latinoamericanas/Latin American Jewish Movies/Filmes judaicos da América Latina
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Los judíos han desempeñado un papel importante en el desarrollo y la producción de películas latinoamericanas. En los primeros días del cine, se desempeñaron como directores, productores, guionistas y difusores. A medida que las sociedades latinoamericanas se volvieron más abiertas religiosamente a fines del siglo XX, los personajes y temas judíos comenzaron a aparecer en las películas latinoamericanas y, finalmente, lograron su plena inclusión. Las películas más destacadas de directores judíos en Argentina, México y Brasil, Uruguay, han gozado de aclamación crítica y popular.
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Os judeus desempenharam um papel significativo no desenvolvimento e produção do cinema latino-americano. Nos primórdios do cinema, eles atuavam como diretores, produtores, roteiristas e emissoras. À medida que as sociedades latino-americanas se tornaram religiosamente mais abertas no final do século XX, os personagens e temas judaicos começaram a aparecer nos filmes latino-americanos e, finalmente, alcançaram a inclusão plena. Filmes de referência de diretores judeus na Argentina, no México e no Brasil, no Uruguai e em outros países desfrutaram de aclamação crítica e popular.
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Jews have played a significant role in the development and production of Latin American movie-making. In the early days of cinema, they served as directors, producers, screenwriters, and broadcasters. As Latin American societies became more religiously open in the later twentieth century, Jewish characters and themes began appearing in Latin American films and eventually achieved full inclusion. Landmark films by Jewish directors in Argentina, Mexico, and Brazil, Uruguay and other countries have enjoyed critical and popular acclaim.
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This text was adapted from: Nora Glickman and Adriana Huberman. Evolving Images. Austin: University of Texas Press, 2017. back cover.
Um marco do cinema brasileiro, O ano em que meus pais foram de férias conta a história de Mauro, de 12 anos, deixado para trás como seus pais ativistas políticos fugindo da repressiva ditadura brasileira. Agora tomado pela comunidade judaica de São Paulo, o Mauro amadurecerá em um cenário de medo e repressão política, por um lado, e da euforia do Brasil sobre sua participação na Copa do Mundo de 1970.
Gary Terracino
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A milestone of Brazilian cinema, The Year My Parents Went on Vacation tells the story of 12-year-old Mauro, left behind as his political activist parents flee the repressive Brazilian dictatorship. Now taken in by São Paulo’s tightly knit Jewish community, Mauro will come of age against a backdrop of fear and political repression on the one hand and Brazil’s euphoria over their participation in the 1970 World Cup.
Durante los años 20 y 30, muchos judíos dejaron la inestabilidad de Europa para comenzar una nueva vida a través del Atlántico en, entre otros lugares, México. Aunque la historia probaría que este es un juicio sabio, en muchos casos los recién llegados lucharon por asimilarse en una sociedad desconocida y nunca volverían a ver a sus seres queridos que se quedaron atrás.
Nick MacWilliam
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During the 1920s and 30s many Jewish people left the instability of Europe to begin a new life across the Atlantic in, among other places, Mexico. Even though history would prove this to be wise judgment, in many cases recent arrivals struggled to assimilate into an unfamiliar society and would never again see loved ones who stayed behind.
Jacobo es un hombre de pocas palabras, un triste dueño de una fábrica de calcetines que está definitivamente en el grupo de quienes viven para trabajar, no trabajan para vivir. Su fiel asistente Marta, de mediana edad, ayuda a dirigir la fábrica y mantiene en orden incluso sus necesidades mínimas de vida, pero cuando el hermano Jacobo planea visitar a Jacobo le pide a Marta que lo ayude a poner su vida en orden, pero también en exhibición. Amenable, Marta se arriesga a desempeñar el papel de su esposa, por lo que Jacobo finge que en realidad tiene una vida personal para impresionar a su hermano casado. Hace muy bien su papel, Marta, la perfecta ama de casa de Susie y Jacobo, el aburrido y amargo esposo promedio. Pero no es hasta que los dos se acuerdan a viajar por invitación del hermano de Jacobo a un centro turístico descolorido que los hermanos visitaron cuando aprendimos algunas verdades fáciles y algunas difíciles sobre la vida, la responsabilidad, la alegría y el legado de los inmigrantes judíos en Uruguay. más allá.
Maria-Christina Villaseñor
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Jacobo is a man of few words, a joyless owner of a sock factory who is definitely in the camp of those who live to work not work to live. His faithful assistant, the middle-aged Marta, helps run the factory and keeps even his minimal living needs in order but when Jacobo’s brother plans to visit Jacobo asks Marta to help put his life not only in order but on display. A good sport Marta gamely agrees to play the part of his wife so Jacobo pretends he actually has a personal life for the sake of impressing his married brother. They play their parts extremely well, Marta the perfect Susie homemaker and Jacobo the average bored, bitter husband. But it isn’t until the two agree to travel on invitation from Jacobo’s brother to a faded resort the brothers visited as children that we learn some easy and some hard truths about life, responsibility, joy, and the legacy of Jewish immigrants in Uruguay and beyond.
Production Year 2004 Difícil a encontrar fuera de la Argentina/Difficult to find outside of Argentina
Ariel, un joven argentino en una loca búsqueda de identidad y un sentido de pertenencia con su padre ausente nunca le dio. La familia judía de Ariel emigró de Europa del Este, Polonia para ser específica, y Ariel están tratando de obtener la ciudadanía polaca para una identidad como “europeo”. Ariel también está cuestionando su propia historia y paternidad para reconstruir la historia de su Padre que ha dejado la familia para que Israel luchara en la guerra de 1973.
Maria-Christina Villaseñor
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Ariel, a young Argentine on a nutty quest for identity and a sense of belonging that his absent father never gave him. Ariel’s Jewish family emigrated from Eastern Europe, Poland to be specific, and Ariel is suddenly trying to gain Polish citizenship to given himself an identity as a “European.” Ariel is also questioning his own history and paternity trying to piece together the story of his father who left the family for Israel to fight in the 1973 war.
Esta comedia se centra en la ceremonia de Shiva de siete días que celebra la vida de Moishe, un compañero recientemente fallecido cuyo apetito por la buena vida superaba su adhesión a la fe. Sin embargo, la costumbre dicta que Shiva sea observado para enviar a Moishe en su camino a la vida futura. Varios familiares disfuncionales y asociados, entre ellos una hija amargada, un nieto fugitivo que se ha vuelto ortodoxo y el rabino local, descienden al departamento de Moishe en el barrio judío de la Ciudad de México bajo el pretexto de presentar sus respetos, una serie de peleas internas e inquietantes Ven al foro. Es uno de esos en los que, aunque se puede extrañar a Moishe, es probable que esté mejor lejos de todo.
Nick MacWilliam
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This comedy centers on the seven-day Shiva ceremony celebrating the life of Moishe, a recently-departed fellow whose appetite for the good life outweighed his adherence to faith. Nevertheless, custom dictates that Shiva be observed in order to send Moishe on his way to the afterlife. As various dysfunctional family members and associates – among them an embittered daughter, a fugitive grandson gone orthodox, and the local rabbi – descend on Moishe’s apartment in Mexico City’s Jewish neighborhood under the pretext of paying their respects, a series of internecine feuds and brooding affairs come to the fore. It’s one of those where, although Moishe may be missed, he’s probably best off away from it all.
La dictadura militar que gobernó Argentina desde 1976 a 1983 fue una de las más brutales en la historia de América Latina. Más de 30,000 personas fueron desaparecidas por las autoridades, mientras que muchos otros fueron detenidos y torturados. El cineasta judío Juan Mandelbaum regresa a su país de origen después de treinta años de vivir en el extranjero para rastrear el legado del gobierno militar, mientras dibuja paralelos entre la dictadura argentina y el holocausto. Al igual que con los nazis, la junta militar trató de borrar la memoria de sus víctimas. Las películas como esta actúan como un medio para preservar esa memoria y como tales desempeñan un papel en la superación del pasado traumático. Esta historia es en parte personal, como Mandelbaum recuerda a una ex novia desaparecida y otras que él conocía, pero la dictadura es una tragedia que afecta a todos los argentinos, incluso a los nacidos después de la restauración de la democracia.
Nick MacWilliam
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The military dictatorship which governed Argentina from 1976-1983 was one of the most brutal in Latin American history. Over 30,000 people were disappeared by the authorities, while countless others were detained and tortured. Jewish filmmaker Juan Mandelbaum returns to his home country after thirty years living abroad to trace the legacy of military rule, while drawing parallels between the Argentine dictatorship and the holocaust. As with the Nazis, the military junta sought to erase the memory of its victims. Films like this act as a means of preserving that memory and as such play a role in overcoming the traumatic past. This story is partly personal, as Mandelbaum recalls a disappeared ex-girlfriend and others he knew, but the dictatorship is a tragedy that affects all Argentines, even those born following the restoration of democracy.
Una comedia sátira que comenta (en este caso, la obsesión de la sociedad chilena) con la apariencia física, los confundidos personajes de Ilusiones Ópticas serpentean a través de la vida en una nube de auto-crisis y deseo moribundo. El sexo, los implantes mamarios y la circuncisión de bricolaje ocupan sus pensamientos, principalmente en el nombre de provocar algunos cambios en la vida a través del medio de transformación corporal.
Nick MacWilliam
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A comedy satire commenting on (in this case Chilean) society’s obsession with physical appearance, Ilusiones Ópticas’ confused characters meander through life in a cloud of self-crisis and moribund desire. Sex, breast implants and DIY-circumcision occupy their thoughts, mainly in the name of bringing about some life changes via the medium of bodily transformation.
Esta comedia oscura mexicana Nora, una judía ortodoxa, que se suicida en la víspera de la Pascua. Su ateo, el ex esposo José (Fernando Luján) se queda para manejar el funeral, que incluye todas las costumbres y rituales judíos que hacen que la planificación de su entierro sea más de lo que José puede manejar.
Kiko Martinez
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This Mexican dark comedy directed by then first time director/writer Mariana Chenillo begins with its title character, Nora (Silvia Mariscal), an Orthodox Jew, committing suicide on the eve of Passover. Her atheist ex-husband José (Fernando Luján) is left to handle the funeral, which includes all the Jewish customs and rituals that make planning her burial more than José can manage.
