A retrospective dedicated to the Argentine filmmaker Milagros Mumenthaler.
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Marina, Sofía and Violeta are sitting on a sofa. Bridget St. John’s Back to Stay is playing on the record player. The camera slowly moves towards the three sisters in a zoom-in. One of them sing a few lines. Their eyes gradually fill with tears. Their grandmother, with whom they have always lived, has just died. Their grandmother is gone, but they remain in the same house, where her absence becomes tangible. At the end of Abrir puertas y ventanas, we return to the same sofa. This time, only two sisters and their neighbour remain. They are listening to Canción de Violeta (Fran Gayo), composed and sent by the third sister, who is no longer there. She, too, has disappeared and become an absence. This time, however, the camera does not zoom in but zooms out, gradually distancing us from the sofa and from Marina, Sofía and Violeta’s lives. Milagros Mumenthaler’s first feature film, made in 2011, won the Golden Leopard at the Locarno Film Festival.
In La idea de un lago (2016), we encounter a first telephone conversation: “Hello. Hi, Pablo. Hi, Inés. I’m calling because I’ve finished writing the book’s prologue, and I wanted to read it to you. You want to read it to me over the phone now? Yes. You know your opinion is important to me. Can you?” Later, we encounter a second zoom-in, this time towards the protagonist, Inés, a professional photographer who is pregnant and about to publish a book. Looking directly into the camera, she tells us how she remembers her summers. Her father disappeared on 21 March 1977, a victim of Argentina’s military dictatorship, and Milagros Mumenthaler builds a film that reflects on memory and its construction. The film also premiered at the Locarno Film Festival and was screened in San Sebastián Festival in the Horizontes Latinos section.
The third film: Las corrientes (2025). The third protagonist: Lina. And the third zoom-in: this time, towards the protagonist’s long, dark, wavy hair, evoking the currents of water. After receiving an award in Switzerland, Lina, an Argentine stylist at the height of her career, follows an unexpected impulse. When she returns to Buenos Aires, something has changed. Even her name seems to shift: Lina, Cata, Catalina. Who is this woman when she no longer recognises herself in the life she has built? Premiering at the 2025 San Sebastián International Film Festival, the film received the RTVE Otra Mirada Award.
Marina, Sofía, Violeta, Inés, Lina, Cata or Catalina. Five protagonists, several names, and the same question: how far can we go in knowing another person? Milagros Mumenthaler’s cinema draws close to its characters, captures their gestures and listens to their silences, but never seeks to reveal them completely. Perhaps intimacy consists precisely in this: being close without claiming ownership of the other’s mystery.
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She is currently developing her next film.
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The series dedicated to Argentine director Milagros Mumenthaler consists of screenings of her three feature films.
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Bridget St. John’s Back to Stay is playing on the record player. The camera slowly moves towards the three sisters in a zoom-in. One of them sing a few lines. Their eyes gradually fill with tears. Their grandmother, with whom they have always lived, has just died. Their grandmother is gone, but they remain in the same house, where her absence becomes tangible. At the end of Abrir puertas y ventanas, we return to the same sofa. This time, only two sisters and their neighbour remain. They are listening to Canción de Violeta (Fran Gayo), composed and sent by the third sister, who is no longer there. She, too, has disappeared and become an absence. This time, however, the camera does not zoom in but zooms out, gradually distancing us from the sofa and from Marina, Sofía and Violeta’s lives. Milagros Mumenthaler’s first feature film, made in 2011, won the Golden Leopard at the Locarno Film Festival.In La idea de un lago (2016), we encounter a first telephone conversation: “Hello. Hi, Pablo. Hi, Inés. I’m calling because I’ve finished writing the book’s prologue, and I wanted to read it to you. You want to read it to me over the phone now? Yes. You know your opinion is important to me. Can you?” Later, we encounter a second zoom-in, this time towards the protagonist, Inés, a professional photographer who is pregnant and about to publish a book. Looking directly into the camera, she tells us how she remembers her summers. Her father disappeared on 21 March 1977, a victim of Argentina’s military dictatorship, and Milagros Mumenthaler builds a film that reflects on memory and its construction. The film also premiered at the Locarno Film Festival and was screened in San Sebastián Festival in the Horizontes Latinos section.The third film: Las corrientes (2025). The third protagonist: Lina. And the third zoom-in: this time, towards the protagonist’s long, dark, wavy hair, evoking the currents of water. 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