Moguillansky’s follow-up to The Gold Beetle is a fantasia that elegantly weaves together disparate elements: Hans Christian Andersen’s tale of the little match girl, Bresson’s saintly abused donkey Balthazar, a Red Army Faction member’s correspondence with an Argentine pianist, and a composer trying to mount an opera at the Teatro Colón. Winner of Best Argentine Film at last year’s BAFICI, The Little Match Girl is infused with emotion, and never devolves into the obscure or didactic, despite its many literary and cinematic references. Featuring exquisite cinematography from Inés Duacastella, this spectacular work must not be missed.

　新冠肺炎疫情期间，一个阿根廷的三口之家在家中隔离。爸爸是一名导演，因为隔离的要求，只能在线上与演员排练新戏。妈妈是一名舞蹈演员，疫情之下演出都被取消，她就在家教网课补贴家用。爸妈虽然在家，但都为各自的工作忙得不可开交，小女儿被冷落在一旁。爸妈都不知道，她想要买一个天文望远镜。但是零花钱远远不够支付望远镜的钱。小女儿想出了一个办法，让快递员帮忙售卖家里的物品。忙碌的爸妈什么时候才会发现女儿的计划？他们又会对此做出什么反应？

Medium is a film portrait of pianist and artist Margarita Fernández. Instead of retelling the story of a life, Edgardo Cozarinsky combines scenes of Fernández playing entire piano pieces with her reflections on music and art, memories of a specific concert, archive footage of performances in the 70s and encounters with her students. Brahms is the other protagonist of the film alongside Fernández, as everything seems to revolve around him for her: when she’s at the piano, in her stories and reflections, in her attempts to articulate what it means to make music, in her thoughts on passion. Fernández has an engagingly calm, intelligent and sensitive way of engaging with the world and the filmmaker and is more than an individual artistic personality in this film: Cozarinsky places her in an in-between space, making her visible as a mediator who builds bridges between the past and the present, between different generations, between scores and music, sounds and images and her art and that of cinema.