For legendary Argentine writer Jorge Luis Borges, the »Aleph« was a point in the universe that combines all other possible points of the world. Narcisa Hirsch’s film shows the frenzied blending of space and time in sixty seconds and sixty cuts.
Narcisa Hirsch is a pioneer film-maker in the context of the Argentine avant-garde, an art scene dedicated in the mid 1960s to radical aesthetic ventures. Over several decades, the native German (*1928 in Berlin) has built up a body of work that covers a conceptual and aesthetic spectrum achieved by few other film-makers in Latin America. Having actively participated in numerous happenings and artistic experiments, Hirsch, who originally worked as a painter, positioned herself as a cross-genre film-maker in the 1970s.
In her pioneering work for structural film, she adopted a political perspective on gender issues, paving the way for a new generation of experimental women film-makers through the poetic impulse that characterizes her images. Under the Argentine military dictatorship (1976-1983), the Goethe Institute in Buenos Aires offered her the artistic freedom that she may not have found without this institution.
Sven Pötting (kinolatino.de) and Sonja Hofmann