Rustlers

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “PreRevolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

Carri’s narration is anyway not what it might once have been, a mother doesn’t tell things the same way as a daughter. Legends, families, political alignments, cinema: each produces images and these are what appear on the screen, in one channel, three channels, five. It’s all material plucked from an archive and a wonderfully eccentric one at that: news reels, ads, home videos, interviews, movies, abstract forms. Images that could stem from old films, lost films, new films, possible films, impossible films; this is a film for which no other images will do.

Trailer...