A lo largo de julio y agosto, todos los sábados podremos ver uno de los nueve largometrajes que conforman, por el momento, su filmografía.
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\n\nIra Sachs es uno de los directores más relevantes del cine independiente estadounidense queer contemporáneo. En este sentido, destaca su papel como fundador de Queer|Art organización cultural sin ánimo de lucro situado en Nueva York que se dedica a la exhibición y al apoyo a nuevas generaciones de artistas LGTBQ+ desde 2009.
\n\nEl cine de Ira Sachs es personal (no autobiográfico) e íntimo y, aunque sus películas tengan diferencias, comparten elementos en común: la exploración de relaciones humanas complejas y personajes ambiguos, la importancia de la cotidianeidad, el interés por las genealogías culturales queer y la importancia de los espacios.
\n\nRespecto a los espacios, por un lado, destaca la importancia de pisos, habitaciones y apartamentos, pero también es mencionable el papel de la ciudad de Memphis en The Delta (1996) y, sobre todo, Nueva York en películas como Keep the lights on (2012), Love is strange (2014) o Little men (Verano en Brooklyn) (2016). La ciudad no es solo un escenario donde ocurren las historias si no que las propias ciudades condicionan y moldean las relaciones afectivas.
\n\nLos cuerpos son también muy importantes en el cine de Ira Sachs. Cuerpos que desean, se acercan y se distancian. Cuerpos que construyen, sostienen o ponen en crisis relaciones. Puede que el verano sea el mejor momento para descubrir el cine de este director ya que el tiempo dilatado permite observar con atención los detalles más sutiles de la intimidad que construye y habita este universo compuesto de afectos, encuentros y transformaciones.
\n\nThe Man I Love, su última película, se ha estrenado recientemente en la Sección Oficial del Festival de Cannes. El 4 de julio, tendremos la suerte de contar con su presencia en Tabakalera para presentar la película que abre esta retrospectiva, su penúltima película: Peter Hujar’s Day (2025).
\n\nA lo largo de julio y agosto, todos los sábados podremos ver uno de los nueve largometrajes que conforman, por el momento, su filmografía.
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\n\nSu cine entreteje el documental, la poesía, el material de archivo y las imágenes tomadas por él mismo, combinación mediante la cual el autor explora el poder transformador de los sonidos, los movimientos, los trances y la automutilación, una transformación que moldea a individuos marginados en catalizadores de la sublevación y la emancipación, y como resultado, cuerpos diaspóricos exhaustos y fragmentados despiertan en una conciencia colectiva, ya preparados para la acción política.
\n\nA través de su trabajo y su investigación, Aniss captura las políticas de liberación mediante la documentación de hermandades como las de los gnawa, los hmadcha, los jilala y los issawa, comunidades formadas por descendientes de personas originarias de África Occidental que fueron esclavizadas y traídas por la fuerza a Marruecos.
\n\nDurante su infancia, Aniss asistió a rituales gnawa, donde la danza, la música, el trance y la automutilación entrelazaban el sufrimiento con la sacralidad.
\n\nSu obra videográfica nos ofrece una mirada íntima a los imaginarios de las hermandades y propone un marco afectivo y conceptual donde la angustia y el dolor del individuo oprimido mutan en una fuerza estética que sienta las bases de la liberación.
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\n\nComo montajista ha participado en múltiples proyectos documentales, como también experimentales en colaboración con artistas contemporáneas argentinas.
\n\nEn 2019 fundó un taller de realización documental, “La Paloma” en una Unidad Penitenciaria de la provincia de Buenos Aires.
\n\nEn 2024 llevó a cabo un Laboratorio de memorias y archivos, en conjunto con la Asoc. Malen Etxea, en Zumaia, como parte de su TFM.
\n\nAdemás está involucrada en proyectos de investigación y conservación de películas argentinas y forma parte del colectivo de investigación Operación Retorno.
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