Raymundo

For a filmmaker, the grandest homage imaginable may be a bio-film. The filmmaking couple Ardito and Molina, still infants when the subject of their debut film disappeared, pull out all the stops: they present an associative montage of archive footage, colourful animations, subtle inserts, readings of Raymundo’s texts by his son and a lively soundtrack. Still, from this assorted mosaic a clear portrait of Raymundo Gleyzer emerges – his work, his life and his time. Born in Buenos Aires in 1941, he developed into a documentary filmmaker during the turbulent sixties. He wished to mobilise film as a weapon in the socialist battle. Apart from documenting social changes in Europe and Africa, he followed the hotbeds of transformation in Latin America. And there were quite a few – one revolt was not yet smothered when the next coup d’état took place – from Brazil, Cuba, Mexico and Chile - to Argentina. In many cases, the events were quite violent. The provocative Gleyzer was in constant danger. When General Videla’s junta assumed power in Argentina in 1976, the cineaste was kidnapped by a paramilitary unit. His family, colleagues and brothers-in-arms never saw him again. Some of the guilty still go about freely. But this film lives on.