The Blonds, directed by indy filmmaker Albertina Carri and released in 2003 is perhaps her best film so far. The director wrote a autobiographical screenplay based on her childhood and deals with the abduction and murder of her parents during the bloodiest, longest military dictatorship that took place in Argentina in the 70s.
The film accomplishes this in a beautiful fashion, making use of dreamlike situations, overlapping fantasy and reality, real actors, Playmobil dolls and the spotless interpretation of Analía Couceyro in the leading role, playing Carri herself. This is a very experimental film, and given that the screenplay was conceived by the director delving into her own memories, putting the pieces together through combining these with further research and detective investigations, there is a lot of confusion, juxtaposition of facts and different fantastic mechanisms that help the main character deal with her past. Blond has the supporting role of actor Alan Pauls, which helps drive the plot further.
Another indy film worthy of mention is “The Refugee”, released in 2014 and directed by Diego Lerman. The most interesting thing about his filmography is the way he experiments and explores themes and narrative devices in a totally different way. Diego Lerman’s work showcases a punk, chaotic and minimalist style, noteworthy also for elements of classicism. The film The Refugee, however, is probably on of his most underrated works, which surprisingly fared quite well in Europe and got some noteworthy awards in some international film festivals. The awarded film, directed by Lerman, addresses domestic violence and makes effective use of an off screen technique mixed with a sort of silent epilogue that precedes and then follows every one of the footsteps of the actual protagonist of the story, namely the child trying to decipher what it really is that is happening to his mother.