Plan Recuperar
In 2016, GOTIKA and DAC embarked on one of the most ambitious global projects focused on the rescue, restoration, and digital preservation of 101 contemporary Argentine classics.
Declarado de Interés Cultural por el Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires.
Definitely epic!
A total of one hundred titles were directly completed, over fifty indirectly, and more than three hundred titles were cataloged and located.In addition to enhancing and upgrading so many titles to 4K, these works were broadcast on TV, generating copyright royalties, made available on streaming platforms like Netflix, Amazon Prime, among others, and showcased in over fifty cities worldwide.
The selected titles are a vivid representation of the last 50 years of films shot on 35mm film. Argentine cinema experienced a significant decline in both its status and industrial quality by the late 1950s.
The following two decades were marked by circumstances that prevented Argentine cinema from regaining its footing. Although masterpieces emerged in the 1960s and gems in the 1970s paved the way for what was to come, it was the return and definitive establishment of democracy that allowed the industry to recover, enabling both classic and emerging talents to flourish freely in all their splendor.
The Memory of a Nation
The curation focused on the last 50 years of the film format, which reigned for over a century, for a fundamental reason: color.
Color not only allows audiences to quickly identify and connect with films but also makes it possible to save movies that are rapidly losing their pigmentation.
The period from the 1970s to 2010 in Argentina shows peaks of quality production in 2004 and, earlier, in 1995, with a significant production hub emerging in the mid-1980s when The Official Story won the Academy Award in Hollywood.
The selection of titles aims to present examples illustrating how Argentine cinema began to revive in the late 1970s, reached a peak in the mid-1980s, and embarked on a transformation that would define the "New Argentine Cinema."
The work was conducted using materials provided by rights holders from their own archives, the archives of INCAA's Cinematheque (negatives and safeguarded copies, managed through formal written requests addressed to the Institute's Presidency), and the Museum of Cinema archives. Additionally, we collaborated with materials (negatives and copies) made available by the Fundación Cinemateca Argentina.
Cities and Countries Where Films Were Screened
Athens, Greece | Barbados | Beijing, China | Belgrade, Serbia | Bogotá, Colombia | Bolívar, Buenos Aires, Argentina | Bucharest, Romania | Comodoro Rivadavia, Chubut, Argentina | Costa Rica | El Calafate, Santa Cruz, Argentina | Slovenia | Istanbul, Turkey | Grenoble, France | Guyana | Honduras | Jujuy, Argentina | Kyiv, Ukraine | Havana, Cuba | La Plata, Buenos Aires, Argentina | Lima, Peru | Lobos, Buenos Aires, Argentina | Madrid, Spain | Maputo, Mozambique | Mar del Plata, Buenos Aires, Argentina | Mendoza, Argentina | Mexico City, Mexico | Miami, Florida, United States | Milan, Lombardy, Italy | Montevideo, Uruguay | Moscow, Russia | New York, New York, United States | Oberá, Misiones, Argentina | Ottawa, Ontario, Canada | Ourense, Galicia, Spain | Oxford, Oxfordshire, England | Pakistan | Paraguay | Poland | Puerto Madryn, Chubut, Argentina | Port Moresby, Papua New Guinea | Punta del Este, Maldonado, Uruguay | Saladillo, Buenos Aires, Argentina | São Paulo, Brazil | Santiago, Chile | Sydney, Australia | Singapore | Sweden | Suva, Rewa, Fiji | Tandil, Buenos Aires, Argentina | Tel Aviv, Israel | Tenerife, Canary Islands, Spain | Tucumán, Argentina | Valladolid, Castile and León, Spain | Viña del Mar, Valparaíso, Chile | Washington, D.C., United States