From Thursday 8 and up 22 of April, The Goethe-Institut Buenos Aires will carry out the New Independent Cinema in Hamburg cycle, meeting organized in conjunction with the Sala Lugones of the Buenos Aires Theater Complex (CTBA).

It is a free online proposal, consisting of nine contemporary productions made by directors from Hamburg and which can be seen through the Vivamos Cultura platform.

At the same time, the cycle will have an official presentation, by film critic and programmer Roger Koza, also with free access (only a previous registration will be necessary).

The northern German port city has a prolific film history. Hosts a public institution chosen by different artists to come together, train and exchange knowledge and beliefs, the Superior School of Fine Arts, known as HFBK. In hamburg, independent cinema, experimental and cooperative takes root, grows stronger and has a long tradition.

Diverse in content and form, the chosen works share a common denominator: acute observation of the alien, that the directors and the directors approach with radical interest. They question what is often taken for granted and, without imposing definitions, find the balance between artistic freedom and aesthetic control.

Beyond the variety of themes, the films of the first program “Olanda” by Bernd Schoch, "Ada Kaleh" by Helena Wittmann, "First to enter, first out ”by Zacharias Zitouni and“ After two hours, ten minutes had passed ”by Steffen Goldkamp share a deep interest in travel and stand out for their careful observation of the intimacy of their protagonists.

The films of the second program investigate with total curiosity the most earthly -or earthly- of ties and relationship with their environment. In “Time passes like a roaring lion” by Philipp Hartmann, “Casanovagen” de Luise Donschen, "Owls grew as big as the crescent" by Maya Connors, "Flexible Bodies" by Louis Fried and "The Satanic Weed III" by Willy Hans the notions of time, of love, family and work are approached with a sensitivity very typical of each director.

In all the films, names and roles intersect in the various credits: filmmakers and filmmakers know and recognize each other. It seems that all their effort is to keep audiovisual production active with a deep commitment and understanding that cinema is made and remains in force only collectively..