As the 14th international BAFICI film festival gets underway and the city is awash with cinephiles, we thought we’d give you a run down of great Argentine directors so that you can hold your own this week when chatting to the moustache-twiddling, beret-sporting, Deleuze loving (that one’s for the real pros) film enthusiasts.

Far from a comprehensive list, our Top 5 Argentine Directors sets out to tell you five directors you should know about, and should give you plenty to chew on while BAFICI is underway.

Leopoldo Torre Nilsson

Leopoldo Torre Nilsson (1924-78)

The grandfather of Argentine film, Leopoldo Torre Nilsson helped bring prestige to Argentine cinema and was the most important figure in inspiring the younger generation of film-makers who started the new-wave in Argentine cinema at the beginning of the 1960s. According to international filmmaker Roman Polanski, he helped bring Argentine cinema up to international quality without ignoring subjects that were integral to Argentina.

Obsessed with the decline of the bourgeois society in his country, his films were often filled with sexual and societal frustration and peopled with dark characters with shadowy pasts who move in decadent environments. He directed. with humour and finesse.

Born in Buenos Aires, the son of the pioneering Argentine director, Leopoldo Torres Ríos, Leopoldo spent his formative years working under with his father and lost in the books of Jorge Luis Borges, Marcel Proust and James Joyce. His mother was an Argentine of Swedish descent and he cited her compatriot, the director Ingmar Bergman, as one of his greatest influences. He lived young and directed fast, making 30 features in little over 25 years.

His most fruitful collaboration was with his wife, the writer Beatriz Guido. Together, they adapted her novels ‘La mano en la trampa’ and ‘La casa del ángel’ into screenplays that became two of his most successful and critically acclaimed films. When the latter came out, French filmmaker and critic Éric Rohmer called it “the best film to have arrived from South America since the beginnings of cinema.”

No stranger to Argentine literature, Torre Nilsson was a friend of the author Ernesto Sabato and also known for directing screenplays based on the work of other Argentine writers including Roberto Arlt, Adolfo Bioy Casares, Jorge Luis Borges, and gauchesque poet, José Hernández.

For more information find Leopoldo Torre Nilsson on IMDB or visit his website

Leonardo Favio

Leonardo Favio (born 1938) 

Born Fuad Jorge Jury, Leonardo Favio lived through a tough childhood in a small town in the north of Mendoza. An Argentine of Syrian descent, he is a true artistic polymath who built a career out of directing, writing, composing, singing and acting. Much lauded in his home continent, many believe he never got the recognition he deserved on the international scene.

Working under the tutelage of Argentine director Torre Nilsson, he was invited to act in films at the end of the 1950s, and the beginning of his career as a director followed shortly after with the production of his first short film in 1960. Four years later, his debut feature ‘Crónica de un niño solo’ cemented his place at the forefront of Argentine cinema.

The influence of filmmakers like the Spanish born Luis Buñuel and founder of French new-wave cinema François Truffaut was evident, although his personal style and strong aesthetics also shone through. He turned the focus away from a popular fixation with the urban bourgeoisie, towards the tough life at the fringes of society. For this reason he is credited with helping to break the barrier between popular culture and high art.

His films, despite shirking away from the mainstream and embracing the experimental, enjoyed a mass appeal in Argentina. Another of his most acclaimed films, ‘El romance del Aniceta y la Francisca’, is considered by many to be one of Argentina’s best.

An element in his life that cannot be ignored is his vehement support of Peronism. In 1999 he released an exhaustive 340-minute documentary about his political idol: ex-president and controversial figure Juan Domingo Perón.

In 2010, he was appointed Argentina’s Cultural Ambassador by fellow Peronist and current president, Cristina Fernández de Kirchner.

For more information find Leonardo Favio on IMDB

Fernando ‘Pino’ Solanas

Fernando ‘Pino’ Solanas (born 1936)

Fernando ‘Pino’ Solanas was born in Buenos Aires province and has made his name as one of the most important Argentine directors and documentary-makers.

Unlike Favio, Solanas has gained a global recognition, winning the Golden Bear at Germany’s Berlinale, the Special Jury prize at the Venice film festival and the Best Director award at Cannes.

Solanas’ work comes inextricably linked with politics. Any discussion on the director must surely go hand-in-hand with the mention of ‘Grupo Cine Liberación’ – a cinematic movement with which he was strongly affiliated. In the 1960s and 70s, the movement offered a reaction to Latin American politics and global cinema, focusing on making films that were socially and politically committed rather than purely entertainment driven. With their militant cinema they tried to demonstrate that Argentina was a society in crisis.

Their trademark was to make films anonymously, a move that encouraged collective creative processes and also protected them from political repression at a time when dictatorships were starting to emerge across the continent. Their most acclaimed film from the period was a four-hour documentary titled ‘La hora de los hornos: Notas y testimonios sobre el neocolonialismo, la violencia y la liberación’. The film became a symbol of activist cinema during the zenith of leftist politics.

For more information find Fernando ‘Pino’ Solanas on IMDB or visit his website

Armando Bó

Armando Bó (1914-81)

The inclusion of director Armando Bó in this list might raise a few eyebrows, but his influence and cult following should not be underestimated.

US filmmaker John Waters once said that when he was searching for inspiration he would look to the Argentine director’s films and wish he spoke Spanish. And well, that’s about as apt an introduction as the director could hope for. He described ‘Fuego’ (Bó’s best-known film) as “a huge influence”, admitting “I forgot how much I stole”.

In a time when sexploitation films were taken more seriously and the line between art-house and soft-core was slightly blurrier, Armando Bó was king. This auteur of sorts made 30 films between 1954 and 1980 – none of which were too subtle or nuanced. He hacked his way through plots, played for slapstick laughs and flashed a lot of flesh but the audience loved it and kept coming back for more.

He made 27 films starring the now retired model and actress Isabel Sarli. Sarli was Miss Argentina 1955, the Brigitte Bardot of Latin America and the filmmaker’s real-life lover.

“You inspired us all to a life of cheap exhibitionism, exaggerated sexual desires and a love for all that is trash-ridden in cinema,” Waters once said of Sarli, but it’s a comment that works just fine for Bó too.

For more information find Armando Bó on IMDB 

Juan José Campanella

Juan José Campanella (born 1959)

Probably the most recognisable name on this list for a contemporary audience, Juan José Campanella is a member of the exclusive two-man club of Oscar-winning Argentine directors. He has spent much of his working life in the United States and has directed several English language films as well as a number of North American television series.

Born and raised in Buenos Aires, he began studying engineering at university but famously dropped out with only a year to go to pursue a career in filmmaking.

He is credited with helping to restore pride in the Argentine film industry which has historically suffered from “chronic self-depreciation”. “In Argentina, a Hollywood movie is innocent until proven guilty. An Argentine movie is the other way around. I have to work really hard to break down that barrier,” he told one US publication in an interview.

Having been previously nominated for an Oscar in 2001 for his film ‘El hijo de la novia’ (‘The son of the bride’), Campanella’s talents as a director were finally recognised in 2010 when his film ‘El secreto de sus ojos’ (‘The secret in their eyes’) was awarded the Oscar for Best Foreign Language Film.

A classy, unpredictable film noir set in 1975 Buenos Aires – it brought the spotlight back on Argentine cinema and helped make him the most bankable homegrown director in Argentine history.

He is currently working on an animated feature called ‘Metegol’ (‘Foosball’) and, the way things are going, it probably won’t be the last time we see him fumbling at his collar nervously at another red carpet event.

For more information find Juan J. Campanella on IMDB

The Argentine Primera Clausura keeps throwing up more and more surprises, and to dust off an old cliche ‘the only thing that can be predicted is its unpredictability’. Sorry. After the excitement generated by Argentina’s steady, less than glorious victory over Germany- reading the press, who just days previously had believed an Argentine triumph would be celebrated by la selección taking a trip to hell to build snowmen and go sledging, now suddenly believing a win was very possible- we were back to domestic duties, and a great week for the Avellaneda faithful of all colours.

I for one was lucky enough to travel to the bombonera and watch the mighty la academia of Racing Club turn over Boca Juniors 2-1. The game was especially memorable due to my entry into the ground. I’m not sure Lonely Planet, who advise sitting in the plateas (cheap seats) and watching yourself at all times, would especially approve, but to hell with them- that’s right, I went into the ground right next to la guardia imperial; the band, most passionate supporters and barra brava of Racing Club.

I must stress as a disclaimer it was completely by coincidence and accident, but to be sure there are advantages and disadvantages to this manner of entry. For a start the police are much more lenient with you going through controls- who cares about a cigarette lighter when everyone around you is carrying smoke bombs and fireworks? And also the atmosphere when they got the band fired up was pretty intense. But there’s a downside- the loud drums are great in the stadium but not so much 3ft away when you have a slight hangover. And also they will stare at you as if they want to kill you- as they will to anyone not in the barra.

So just another run of the mill weekend then, now on to the highlights of Round 8:

The Devils Go to the Top:

Independiente, despite being the second team in Avellaneda are currently the top team in Argentina after a win at the weekend put them first in the table. El Rojo went top after an impressive 2-0 win over struggling River Plate, the latest in a run of three straight victories. Prolific Darío Gandín added to his winner in the Avellaneda clasico by striking first in the first half, while the second was added by strike partner Silvera. River meanwhile continue to struggle this year, and almost midway through the season find themselves fifth from bottom. One place above Boca in fact.  Superclasico? Don’t make me laugh!

Racing Upset the Odds in La Boca:

Very few before the game started believed that Racing Club could beat Boca Juniors in their own backyard, least of all many Racing fans. And we feared the worst 13 minutes in when Nicolas Gaitán took advantage of customarily sloppy la academia defending to take the lead. Racing for once didn’t drop their head however, and Brian Lluy equalised just two minutes later. Returning Gabriel Hauche then latched on to a great cross and run from Luguercio to fire home on the half volley, sending Racing into half time in the lead. 45 minutes of the most nerve-wracking heart-stopping football followed, as los bosteros surged forward continually. The defence held out for once though, and the fans exploded into joy as the final whistle blew.

Argentinos Down Vélez in La Paternal:

As perennial mid-table fodder Argentinos Juniors are often overlooked by me when writing these round-ups- challenging neither for a title spot nor avoiding relegation, they perform consistently unspectacularly season after season. Sunday however saw their derby day against title prospects Vélez Sarsfield, and Argentinos didn’t let down their fans as they squeaked a close game 1-0 at home. Los Bichos were more than a match for their high-flying opponents, even though coach Gareca had decided to play most of his first team despite an upcoming libertadores game. The decisive strike however didn’t come until five minutes from the end, when a rebound off Vélez keeper Montoya struck hapless defender Torsiglieri, who could do nothing as the ball rolled in for an own goal. The Vélez fans were not happy with the outcome, and there were minor scuffles with the police as they shuffled out of the away enclosure.

Best of the Rest- It’s Tough at the Bottom:

Down at the bottom Racing’s win caused all sorts of panic amongst their fellow strugglers. Closest rivals Gimnasia and Rosario Central could not afford to lose, and therefore played right into the hands of their Avellaneda rivals with an uncompromising 0-0 stalemate. Chacarita Juniors meanwhile, after an impressive start to the season continue in freefall after falling 3-1 to an improved San Lorenzo side- a third defeat in four games. San Lorenzo boss ‘El Cholo’ Diego Simeone was delighted after the pressure that had been building on his side was eased a tad; meanwhile Chaca’s ‘El Negro’ Gamboa is under-fire and feeling it, storming away from Bajo Flores without uttering a word to the press. And the cutthroat world of Argentine football claimed another scalp; a 0-0 draw against current champions Banfield clearly wasn’t enough to save Tucúman’s ‘Chiche’ Sosa, unceremoniously dumped the day after the game with his team in the direct relegation places.

Full Results of Fecha 8:

Hilarious Hincha Squabble of the Week:

If you live in Argentina you have to have been living under a rock to miss the fact that El Secreto de sus Ojos, a wonderfully shot film set in 1970’s Buenos Aires, won the Oscar for best foreign film. Two teams’ supporters however believe the title is truly theirs. The fans of Huracán believe they deserve the Oscar, as a decisive chase scene in the film takes place in their very own stadium. The Racing fans, however, point to the fact that it occurs in the Racing end amongst their fans, the bad guy supports la academia and the guy who tackles him in the stadium? Racing fan! Obviously I’m staying impartial….

Yep, completely impartial

Hero of the Week:

Salvador Cabanas- Despite still having a bullet lodged in his brain as the result of an armed attack in a Mexico City nightclub, the Paraguay and America forward is convinced that he will soon be back playing, and even holds out hope for the 2010 World Cup.

Boludo of the Week:

If there’s one thing worse than a fool, it’s a fool who thinks he’s gods gift to mankind. This makes it wonderful to see when they fail. Case in point, Bolivar of Bolivia’s Alex da Rosa. He wears the number one shirt as this is the position in the team he believes he occupies, but his performance on Tuesday against Estudiantes failed to live up to the hype, and he left the field to boos and whistles.

Today Argentina celebrated winning an Oscar for best foreign language film with “El Secreto de Sus Ojos”. This is the first time that Argentina has won an Oscar in 25 years. The film beat entries from Peru, Israel, Germany and France and is based on a novel by Eduardo Sacheri.

The winning film is set in 1999 and tells the story of a retired investigator, played by Argentine actor Ricardo Darin, who is trying to solve the murder and rape of a woman in Buenos Aires in 1974. The film highlights the turbulence of life in 1970s Argentina.

Guillermo Francella, a veteran Argentine actor and member of the cast said, “This is a historic moment.” President Cristina Kirchner said, ” We’re happy because we won….It’s a fantastic film, I saw it twice and it had an impact on me.”

The Director, Juan José Campanella, joked when accepting the award, “On behalf of the cast and crew … I want to thank the Academy for not considering Na’vi a foreign language,” referring to the language spoken by blue aliens in the blockbuster movie “Avatar”.

Campanella was only allowed 45 seconds on the podium to make his acceptance speech. He said that it was difficult to speak in English and ran out of time before he could thank everyone. Campanella’s final comment, as music cut off his allotted time, was “and a big hug to Chile”.

When speaking to the media after the awards he said, “Tomorrow I will get up for a glass of water and it will really surprise me to see the statue.” Campanella also spoke a cautionary note saying, “With this Oscar we’re not going to solve all of Argentina’s deeper issues and problems.”

“El Secreto de Sus Ojos” also won best Spanish language foreign film at Spain’s Goya Awards this year. The Hollywood magazine Variety described the film as, “a deeply rewarding throwback to the unself-conscious days when cinema still strove to be magical.” The film has had huge success in Argentina. The ceremony was the most watched programme on Argentine television, despite being aired in Argentina in the early hours of Monday morning. The crew who didn’t attend the Hollywood event celebrated the win in a Buenos Aires bar.