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Why watch this film?
The great Argentinian filmmaker Lucrecia Martel ('Zama') returns to documentary cinema with this short film produced during the Covid-19 pandemic. Like many of these productions, 'Terminal Norte' is a story of overcoming, but here the director has a very specific focus: queer popular music artists from Salta, one of the most conservative regions of the country. The film, one could say, is the result of a failure, as it follows singer Julieta Laso after one of her shows is canceled in the region. However, this leads to a meeting with other artists from various areas, with whom she sings and talks about the meaning and origin of her music. Through singing sessions interspersed with moments of conversation and silences with a certain dreamlike quality, the director proposes an intimate, supportive and authentic portrait of artists who act with their hearts.

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During the 2020 lockdown, Lucrecia Martel returns to her home in Salta, Argentina’s most conservative region. Here she follows singer Julieta Laso who introduces her to a group of women musicians and defiant people who exchange glances, songs, and opinions around a fire.
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From the same director

Zama
After nine long years of waiting, director Lucrecia Martel is back with this playful feature film. 'Zama' is a sophisticated, well-crafted movie with a great cast, and is not suitable for any audience. A production that may not be easily understood, requires deep reflection, making the plot even more engaging to the cineaste's lovers. It's an enigmatic, confusing, heavy and also very passionate movie.

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If we're talking about cinematic debuts, few have been as resounding and acclaimed as that of Argentine director Lucrecia Martel, who, after six short films, premiered her first feature film in 2001, awarded at the Berlin Film Festival. 'La ciénaga' is the first installment of what would eventually (not officially) become the 'Salta Trilogy', which together form a portrait of the decline of the Argentine middle class, within the framework of decades of social and economic crisis in the country. The decrepitude of the buildings, the stagnant water, and the widespread boredom combined with indifference of its characters, constitute symbols of the moral putrefaction of its small pseudo-bourgeoisie. Undoubtedly, one of the masterpieces of Argentine and Latin American cinema of the 21st century.
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