Pablo César is an Argentine film director, film producer, screenwriter and film professor.
Text from Wikipedia, CC BY-SA 4.0
Photos 8
César filming with a Super 8 camera in 1981.
Poster created by artist Ciruelo Cabral for the 1994 film Fuego gris, which featured original music by Luis Alberto Spinetta.
View of Jodhpur, one of the locations of Unicornio, el jardín de las frutas (1996), the first co-production between Argentina and India. Originally planned to be shot in Karnataka state, the film was eventually shot in Rajasthan.
Much of the film Hunabkú (2007) - made with the support of INCAA and the Municipality of El Calafate - was shot on the Perito Moreno glacier, in Argentine Patagonia.
The city of Ganvié - built on the waters of Lake Nokoué - was one of the locations for the film Orillas (2011), the first co-production between Argentina and Benin.
The Kalandula Falls were one of the locations for Los dioses de agua (2014), the first co-production between Argentina, Angola and Ethiopia.
The film Pensando en él (2018) - the second co-production between Argentina and India - recounts the meeting between Rabindranath Tagore and Victoria Ocampo in 1924.On YouTube
370 subscribersFilmography 18
Grey Fire
Orillas
El día del pez
Después del final
La Sagrada Familia
Story of Two Warriors
Aphrodite: The Garden of Perfumes
Equinox, the Garden of the Roses
Unicornio, el jardín de las frutas
The Hidden Sky
Sangre
Jorge Polaco
Hunabkú
Thinking of Him
The Call of the Desert
The Gods of Water
Macongo, the African Córdoba32 credits on file
Directors from Argentina 6
About this person
Pablo César is an Argentine film director, film producer, screenwriter and film professor. He began his filmmaking career in the Buenos Aires independent short film scene shot in the Super 8 format, making more than twenty works between the 1970s and 1980s, among which Del génesis (1980), Ecce civitas nostra (1984) - co-directed with Jorge Polaco - and Memorias de un loco (1985) stand out. In 1983, César directed his first feature film De las caras del espejo, shot in Super-8. He turned to the 35 mm film format from his second feature onwards, La sagrada familia (1988), an ironic film that works as a critique of the abuse of power, as well as an allegory of the era of the last civic-military dictatorship in Argentina.
Text from Wikipedia, CC BY-SA 4.0
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