In the Argentinean filmmaker’s new documentary, “Our Land,” and a recently restored masterpiece, “The Headless Woman,” an elusiveness of form becomes the most direct way to the truth.
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From The New Yorker
In the Argentinean filmmaker’s new documentary, “Our Land,” and a recently restored masterpiece, “The Headless Woman,” an elusiveness of form becomes the most direct way to the truth.
From The New Yorker