María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

Film version of the work of Irish author Samuel Beckett. Carried out by the pianist Margarita Fernández, Alejo Moguillansky and Martín Bauer.

MONTAGE is a film record of the Montaje/Lachenmann recital presented by the Proa Foundation on November 8, 2013 in collaboration with the Contemporary Music Series. The recital project revolved around three Pieces for three soloists by Helmut Lachenmann, a nucleus that manifests itself as an index of radicalism from which a story of the direction that guides the career of its author can be undertaken. The program concluded with the simultaneous performance of those three Pieces, a version that appears in the Lachenmanian catalog under the name of Montage and for which there is no score or record. What is heard at the conclusion of this documentary could be the only record, so far, of that ghost version that the composer advises not to try.

After being in a long and uncertain coma, caught between dreams and hazy visions, a man returns home to recover after surviving the global pandemic.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.