Ernesto Arancibia is read about 3 times a day, in 6 languages.
A typical day, 30 days to 22 October 2026
The middle day of the days counted, so one week of news cannot move it. The line under it is the last 60 days, one point a day.
Something wrong?Ernesto Arancibia was an Argentine film director and screenwriter, notable for his work during the classical era of Argentine cinema. He was one of the founders of the Directores Argentinos Cinematográficos (DAC) in 1958.
Text from Wikipedia, CC BY-SA 4.0
A life in dates
La noviaFilm, Director1960
Queen of the Tabarin ClubFilm, Writer1959
… Y después del cupléFilm, Director1958
Forbidden LoveFilm, Director1956
La pícara soñadoraFilm, Director1955
La mujer desnudaFilm, Director1954
La calle del pecadoFilm, Director, Writer1951
La orquídeaFilm, Director1950
Romance en tres nochesFilm, Director1948
La gran tentaciónFilm, Director1947
Mirad los lirios del campoFilm, Director1946
LaurachaFilm, Director1943
Casa de muñecasFilm, Director1942
Su primer baileFilm, Director1904Born12 January 1904Filmography 19
LNLa noviaQCQueen of the Tabarin ClubYC… Y después del cuplé
HPHostesses with permissionFLForbidden LoveLSLa pícara soñadoraLDLa mujer desnuda
PCPájaros de cristalLPLa calle del pecado
TCThe Lady of the CameliasLOLa orquídeaRNRomance en tres noches
MÁMaría de los ÁngelesLTLa gran tentaciónMCMirad los lirios del campo
RMRomance musicalLALaurachaCMCasa de muñecasSBSu primer baile30 credits on file
About this person
Ernesto Arancibia was an Argentine film director and screenwriter, notable for his work during the classical era of Argentine cinema. He was one of the founders of the Directores Argentinos Cinematográficos (DAC) in 1958.
Text from Wikipedia, CC BY-SA 4.0
In common with Ernesto
Erico VerissimoAlso in Mirad los lirios del campo (1947)Soledad MirandaAlso in Queen of the Tabarin Club (1960)
Zully MorenoAlso in La calle del pecado (1954)
Carlos ThompsonAlso in The Lady of the Camelias (1953)
Amelia BenceAlso in Romance en tres noches (1950)
Alfredo AlcónAlso in La pícara soñadora (1956)Fame.am measures public visibility signals. It does not measure human value, talent, morality, or credibility.