22 Years of El Pampero Cine: Trailblazing Independent Cinema in Argentina

Over the past few years, as a dedicated cinephile immersed in the vibrant world of alternative global cinema, you’ve likely encountered the growing prominence of El Pampero Cine. The Argentine collective, formed by Laura Citarella, Mariano Llinás, Agustín Mendilaharzu, and Alejo Moguillansky, has been honing its unique cinematic voice for 22 years, and has recently garnered significant attention with its impressive body of work. One may have had their first encounter with Trenque Lauquen, directed by Citarella, as well as Llinás’s Extraordinary Stories, or the even more monolithic La Flor, known for their majestic lengths combined with complex narrative labyrinths—as well as a series of intricately crafted smaller projects made by its founding members and extended family, like Moguillansky’s The Little Match Girl, or Clementina, directed by Mendilaharzu and his partner Constanza Feldman. Each project reflects their distinct artistic visions and collaborative spirit, establishing El Pampero as a formidable presence in independent cinema.

In recent years, prestigious online and print film magazines and websites such as Cinema Scope, Film Comment, MUBI Notebook, Sight & Sound, Filmmaker, Reverse Shot, Lucky Star, and Pointblank have all spotlighted El Pampero, contributing to the increasing recognition of their achievements and potential. Esteemed critics like Quintin, Jordan Cronk, Roger Koza, and Dennis Lim have also championed their films, expanding their reach to a wider audience of film enthusiasts.

The success of Trenque Lauquen at the Venice Film Festival in 2022 played a significant role in introducing global audiences to the collective, drawing significant attention from festival circuits, critics, and film buffs. The film’s subsequent selection as the best film of 2023 by Cahiers du Cinéma, which dedicated an exclusive issue to Argentine cinema this March, further elevated their profile. This recognition has opened new doors for the collective, prompting a fresh wave of interest and critical re-evaluation of their body of work.

Indeed, the inspiration for this dossier took root last August, sparked by the profound impact of Trenque Lauquen. As someone who has been following their films both chronologically and retrospectively, the film marks for me a culmination of two decades of fruitful collaborations, where they’ve created an alternative example for film production and distribution against the dictates of dominant festival circuit and financing systems, as well as the unfavourable economic conditions of Argentina and the generally weak state of independent filmmaking around the world. It is also commendable to see a revitalization of fiction in these films, where, without acrobatic, special effect, or high-tech cameras, they immersed me in the narrative possibilities, filmed always with enthusiasm and passion. 

I find that the impact of Trenque Lauquen has been so profound that it feels like a fitting moment to pay tribute to El Pampero and its rich history. I see this as a responsibility of every critic—to not only analyse the strengths and weaknesses of any cinematic works but also to celebrate when a truly visionary project is on the horizon. A critic’s role extends beyond mere evaluation; it’s about sharing one’s genuine admiration and igniting the audience’s curiosity to explore the films, fostering a space for critical dialogue and engagement, where the works will continue to thrive and inspire in future projects.

El Pampero has become akin to a troupe of master magicians, travelling far and wide, not just showcasing their own tricks but playfully deconstructing and critiquing them. This self-aware humour, for these filmmakers, is the key to their enchantment, in consistently captivating audiences with their varied magical creations, whether grand or modest. Their work is a labyrinth of ideas, emotions, humour, and playfulness, blended with rawness and a clear look at behind the scenes. El Pampero’s artistry invites you into landscapes previously uncharted, from the province of Buenos Aires and beyond, reflecting a profound love for the labour of filmmaking while continually pushing boundaries and presenting the unexpected. 

After watching Trenque Lauquen and speaking with its director in the August 2023 issue, I experienced feelings similar to those evoked at the end of La Flor, where emotions ran high after witnessing ten years of work on the project. Immersed in their films after thirteen hours, I felt a longing and reluctance to part with the genius creators and everyone involved in producing such a magnificent outcome. I wanted to hug them, shake their hands, and stay with them as long as possible, much like the 40-minute end credits of La Flor in real life.

Inspired by this emotional journey, I proposed to the editors of Senses of Cinema—a magazine renowned for spotlighting alternative and often underappreciated cinematic movements—that we celebrate the remarkable collaborations of El Pampero Cine. Given the notable achievements of not only the four key members but all the other collaborators, whose constant presences in the films had made them something of a family album, it seemed fitting to honour not only the directors but also the actors and the composer who have contributed to their body of work, including more recent films like The Middle Ages, Clementina, Lejano Interior, and Concierto para la Batalla de El Tala, often autofictions of the filmmakers themselves made during the COVID era. The editors embraced this idea, laying the groundwork for this dossier.

The magic of El Pampero lies not merely in their mastery of the art of cinema, but in that their cinema is always in conversation with all other art forms. Their films stand out for their unique blend of and deep respect for literature, theatre, dance, music, photography, and painting. This broad celebration of artistic magic is precisely what the contributors to this dossier have sought to highlight.

Jean Graham-Jones delves into the fusion of theatre and cinema in Argentina, where El Pampero stands out as a maverick presence, defying traditional and state-supported models in favour of cooperative, self-managed production. Her essay showcases how these artists blend different mediums and roles, fostering a community-driven and innovative approach to filmmaking. This theme continues in Maria Delgado’s conversation with actress Elisa Carricajo, where they discuss the intertwined histories and collaborative ethos of El Pampero Cine and Piel de Lava, the quartet of actresses that starred and co-produced La Flor. Their dialogue emphasises the DIY spirit inspired by Buenos Aires’ independent theatre scene and the organic development of projects like La Flor and Trenque Lauquen. Interviews with Rafael Spregelburd and Walter Jakob further explore this dynamic. Spregelburd, a renowned theatrical writer and actor, discussed his roles in La Flor and Trenque Lauquen, reflecting on his deep connection with El Pampero and their collective freedom and the unique storytelling methods that set their films apart. Meanwhile, Jakob shares his journey from cinema studies to a key acting role in the group, highlighting the group’s flexible, spontaneous filmmaking approach influenced by Argentina’s socio-political landscape, and his constant portrayal in the films as the filmmaker’s alter-egos.

Hernán Sassi, in his essay translated from an unpublished work, explores the literary influences in two films by Mariano Llinás, Balnearios and Historias Extraordinarias, particularly the impact of Borges. He examines how Llinás, who came from a literary and surrealist background, integrates literary elements, documentary styles, and the voiceover in these films, creating a narrative approach that challenges traditional cinematic forms and underscores the potential of film to produce fiction. To use Sassi’s expression, “the importance of oral narration is self-evident, but it wouldn’t be as effective if it did not come into tension with the image. In other words, the film demands a listener, but one who is attentive to the disjunction between what he hears and what he sees.”

On the music front, Terence W. Yang examines El Pampero’s inventive use of musical motifs in the second episode of La Flor, as well as in Alejo Mougillansky’s La vendedora de fósforos and Llinás’ still overlooked Corsini interpreta a Blomberg y Maciel. Yang highlights how their blend of music, genre, and cinematic techniques creates a unique language that intertwines historical and contemporary elements, where music reveals the films’ dialogue with time and immortality, and cinema as a path to rediscover an art’s lost innocence. This is complemented by the discussion with composer Gabriel Chwojnik about his role in crafting music for El Pampero’s films. Chwojnik, a foundational collaborator of the collective, discusses his versatile compositions and their impact on the narrative and atmosphere of their productions, despite budget constraints.

Jay Beck and Cecilia Cornejo Sotelo analyse Alejo Moguillansky’s filmmaking approach, which blends documentary and fictional elements. They explore how Moguillansky’s films, such as Castro, El Loro y el Cisne, and El Escarabajo de Oro, reflect the challenges faced by independent artists in Argentina. They highlight Moguillansky’s use of humour, precisely choreographed actions, and the interplay of reality and fiction to critique societal structures while maintaining a playful and experimental style. His admiration for filmmakers like Godard, Bresson, and Tati is evident in his work, resulting in a unique narrative style that seamlessly merges reality with fiction.

Juan Velis and Adalberto Fonken dissect Laura Citarella’s films, such as Ostende and Trenque Lauquen, focusing on her intricate narratives and stylistic complexity. They explore how Citarella’s work, deeply influenced by her collaboration with El Pampero, utilises ambiguity, estrangement, and genre-blending to craft compelling mysteries and metafictional elements. Her films invite viewers to engage deeply with their enigmatic and multifaceted narratives.

The interview section features in-depth conversations with Mariano Llinás and Agustín Mendilaharzu. Mendilaharzu discusses his directorial debut with Clementina, a film that captures the essence of lockdown life with humour and generosity, reflecting El Pampero’s ethos of embracing amateurism and creative freedom. He also highlights the collaborative nature of their work and on the limitation of auteurism. Mariano Llinás reflects on the collective’s origin, rooted in the desire for independence during the “new Argentine cinema” period and the 2001 economic crisis. He discusses the influence of literature and filmmakers like Hergé, Jean Renoir, and Fellini on his work, emphasising the importance of humour and the spirit of travelling. Llinás also addresses the group’s commitment to creative freedom amid Argentina’s political and economic instability.

Two artistic allies of El Pampero, María Villar and Andreas Fontana, graciously responded to our call for contributions to this dossier. María illuminated the collective’s daring and experimental approaches, from shooting without scripts to embracing chaos and spontaneity. Andreas, on the other hand, compared El Pampero Cine to a band of pirates, highlighting their rebellious spirit and defiance of conventional cinema norms. Both Villar and Fontan praised El Pampero’s remarkable ability to create profound cinema amidst economic and political turmoil. Their methods and successes inspire a steadfast resistance to traditional constraints and a celebration of artistic freedom. 

As Llinás passionately states in his interview, “My patria, my country, my fatherland is cinema. For that country, I would fight and do whatever it takes to keep it alive and thriving.” Thus, we present this dossier in honour of El Pampero’s 22nd anniversary. Let’s celebrate their liberation from clichés, their raw authenticity, and their defiance against barriers that hinder cinematic creativity. Let’s honour literature, theatre, acting, music, cinema, and above all, the bonds of friendship, sacrifice, and camaraderie. 

At just 22, El Pampero is brimming with youthful vigour, and we eagerly anticipate their continued innovation and ambition. May their journey inspire others worldwide to forge their unique paths in filmmaking, overcoming economic hardships and censorship. Let’s dance to their rhythm and shout, “Viva cinema!”