Experimentación y libertad, el cine de Narcisa Hirsch.

A mixture of abstract images, superimpositions, and surreal close-ups with a big mouth in the foreground while eating a raw liver and then a postcard. All this while listening to Neapolitan songs. The result is a unique piece of Argentine experimental cinema directed by Narcisa Hirsch where transgression and sensibility are combined.

A close-up in out-of-focus that slowly zooms out cautiously until it reveals a record player in operation in the general image. From the device emerges the sound of a phrase, the 1966 recording of the musician Steve Reich, which is electronically out of phase until it becomes blurred and disappears, carrying out an inverse movement to that of the image.

Narcisa Hirsch, Marie Louise Alemann and Walther Mejía carried out a happening in Buenos Aires in which they handed out hundreds of apples to people passing by. This documentary is the record of this ephemeral work of art that took place on the corner of Florida and Diagonal Norte in 1968.

People, objects, disparate scenes, colors and textures. A compilation of images gathered as a collage by director Narcisa Hirsch.

Narcisa Hirsch, director and voice of this piece, narrates to a man the space of a workshop that she does not show. Instead, she shows a wall covered with images as a collage.

An interior life as a room that is traveled in pause and a voice that enters from afar. The portrait of an artist's life is a path through the spaces and people who inhabited it. The conclusion? The fantasy of a poetic burial.

In a closed room, a young couple interacts in silence as she reminisces about her life from birth to her first love. The film captures both the intimacy of their bond and the harshness of the Patagonian landscape, where cold and loneliness contrast with the warmth of early memories and the glow of emerging life. Through images that blend the surreal and the familiar, the story reveals how family ties can be an anchor in the face of the darkness that lurks in the depths of every memory.

Orélie Antoine de Tounens was a French explorer who proclaimed himself king of Patagonia and Araucanía. Narcisa Hirsch traveled to southern Argentina to film her version of the mythical story.

Ana is one. One Ana, divided into two aspects. Two aspects of a woman.

A man returns home defeated by war. The film seeks to portray the end of battles as well as the end of ideologies, constituting a tribute to men from the point of view of the woman artist; the observer moved by the pain of the man wounded in body and soul.