In some vacant area in the Buenos Aires province, Diego is taking part in a radio contest that consists of answering a series of questions about his beloved team Racing Club. Meanwhile, in the blink of an eye, a man falls from the sky on the hood of his car, another man ends up gagged in the trunk, a secret agent shows up weapon in hand and a plane crashes just meters away.
In 1997, 17-year-old suburban Buenos Aires filmmakers Pablo Parés and Hernan Sáez pooled $450 to co-write/produce/direct and star in a shot-on-VHS zombie epic of such flesh-ripping, gore-spewing greatness that it instantly drew global cult acclaim and redefined the possibilities of extreme DIY horror. Over the next 20 years, Parés, Sáez and their friends would create two increasingly ambitious – and equally brilliant – viscera-soaked sequels (and several short films) that made them “Argentinian George Romeros who’ve built a small empire of gore flicks”
1990, after the fall. A man struggles to survive in the forest, living alone in a small cabin. One day he spots a mysterious child in an abandoned summer camp.
Nesquick has a guy in the trunk. The other, Diego, tries to convince him to open it because he is drowning, but Nesquick doubts that it could be a death trap.
An American film director screening his new film in Budapest meets one of the subjects of that film. What begins as a simple chat over coffee turns into an alternately comic and suspenseful road trip.
Chronicling the history of his family from 1787 to now while looking for the answers to some buried secrets regarding certain relatives, Roger Deutsch (The Boy on the Train) soothingly voices over his latest effort - a poetic, travelogue-esque 30-minute documentary which takes the viewer on an engaging personal journey from Hungary to America and back via beautiful vintage photographs, grainy home videos (that often look better than professional and persistently stand the test of time), as well as his own impressionistic footage, with the unique experience enhanced by excellent musical choices. —Nikola Gocic
Short film by Roger Deutsch.
Short film by Roger Deutsch.
Short film by Roger Deutsch.
Short film by Roger Deutsch.
An old fashioned suite which takes the viewer via car, boat, plane and train to an unexpected destination.
JEWS excavates a lost world of manners and ritual in home movies shot by several Chicago families from the 1920s through the 1940s. Much as in similar found footage soliloquies by Péter Forgács, Jay Rosenblatt and Ken Jacobs, director Roger Deutsch wrings unexpected pathos from mundane traces of the past. Children mug for the camera with dances of the day, upright mothers march their strollers up the avenue, men smoke, the family gathers around the table to light the candles. The bare title cannot help but raise the specter of contemporaneous events in Europe, lending an extra degree of urgency to the film's meditation on disappearance. - Max Goldberg
Short film by Roger Deutsch.
A trip to buy flowers for mom is not what it seems to be.
A structuralist film about narrative structure, "Intermezzo" compresses five cinematic melodramas by compiling parallel fragments through a polyphonic over-lapping of time-frames, to foreground the meta-narrative behind the genre, yet remains a melodrama at heart. The motion pictures used are (in order of appearance) Gregory Ratoff: Intermezzo (1939), Douglas Sirk: Interlude (1957), John M. Stahl: When Tomorrow Comes (1939), David Lean: Summertime (1955) and Gustav Molander: Intermezzo (1936).
A prelude constructed from other preludes. A prelude to a love story. A love story.
A memoir of early adolescence constructed from an instructional video originally produced in 1959.
Short film by Roger Deutsch.
Documentary by Roger Deutsch.
