The father of independent Argentinean cinema has made most of his films in (and on the subject of) Ituzaingó, a small city 15 kilometers away from Buenos Aires. Ituzaingó owes to Perrone’s movies the fact it is as much of a filmic urban space now as other towns such as Paris and New York for other filmmakers. In almost 28 years, Raúl Perrone has made over 40 films without any external financial support. He is one of the few directors who can claim a deep understanding of the digital format which enables him to impose a filmic logic in it. Any of the shots in films of his such as P3ND3JO5 or FAVULA are irrefutable witnesses to it.
Perrone’s films are living organisms in constant permutation. His first barrio films, closer to a naturalistic style and based on words, have little to do with the experimental, formal sophistication of his later works in which words remain beyond the frame and (facial) expressions reach a hyperbolic dimension. These are tales about neighbors and friends, about love, ominous tales set in an imaginary jungle (invented in some empty lot or factory), or in a castle. And, more recently, a Samurai tale. The multiplicity of themes is just as evident as the aesthetic drive of a filmmaker who reinvents, film after film, cinema’s language.