By Ezequiel HILBERT


unknown - Production 2012

Cemeteries, slaughterhouses and townhalls. 70 gigantic art-deco works built in 40 months at small rural towns, designed entirely by one man: Francisco Salamone. This story remain ignored for 70 years. Now is time to be unveiled. MUNDO SALAMONE is one of those few untold big stories.

    • Year of production
    • 2012
    • Genres
    • unknown
    • Countries
    • Languages
    • Budget
    • 0 - 0.3 M$
    • Duration
    • 84 mn
    • Director(s)
    • Ezequiel HILBERT
    • Writer(s)
    • Ezequiel HILBERT
    • Producer(s)
    • Ezequiel HILBERT (Estudio Vis), Valeria BISTAGNINO
    • Synopsis
    • Cemmeteries, abattoirs, town halls and main squares. Enormus and dramatic buildings cultivating astonishment and perplexity on every spectator for more than 70 years erected like gigantic watchers over a flock of small houses. Talking silently to the lineal horizon of the Pampa. United on their loneliness these buildings are waiting for something that justifies their proud monumentality. Together they make the portrait of an obsession, of a criptic will for power and recognition. They embody the impossible deterritorialisation of the Pampa.
      The enigmatic life and work of architect- engineer Francisco Salamone generates a strange magnetism in those who get to know his work. Historians, photographers, architects, bloggers, journalists, writers, artists and filmmakers, as well as travelers and local researchers get caught by this fascinating, absurd, legendary, controversial, even morbid influx emanating from the Salamone compound.
      But there is hope however: Both Salamone´s daughters are alive and steping on argentinean soil. Stella Maris is still in love with her deceased father, Ana María ignores him.
      Mecanisms: Interviews, testimonies, pseudo-fiction, architectural documentary, road-movie. This movie watches the watchers. Is about the birth of a myth.
      Every Salamonic thinks he owns some truth about the architect´s life and work, some of them even feel they discovered Salamone. Three different worlds have developed their own point of view: The academic, the artistic and the local wolrds are the narrative engine for this movie.
      Only the most important salamonics are part of the sory. The pioneers, the ones who did most for understanding these buildings and the ones who wrote something worthy about the subject will be interviewed.
      The artistic and interpretative world it has a fictional character, is full of myth and singularity; Juan Forn, one of the best argentinean living novelists, wrote an article on Página 12 newspaper mentioning a fictional character named Juan Valentini, a rural doctor obsessed with Salamone´s work, native of a small town called Roverano. Valentini will embody salamonic obsession, on his road trip through Salamone´s work he will meet Juan Forn, Esteban Pastorino and Nacho Iasparra (tremendous photographers), Mariano Llinás (filmaker) and Santiago García Navarro (art critic, writer). Some Valentini´s actions will unleash the docu-clips: short stories about adyacent issues.
      The third world is that of the silent relationship between people from small towns and these huge vertical buildings. Cemmeteries, slaughterhouses and town halls will be seen in use. Neighbours wil tell their bare opinions on the buildings as they do their daily life.
      Like Proust said the movie will pass by “from one world to another” with some words from Ed Shaw at the begining (he rediscovered Salamone) and quite strong statements from Stella Maris at the end. After the myth, when the affective-emotional story embraces the film, we will see the man on his private family life, the human Salamone will overthrow the mythical one.
      MUNDO SALAMONE. Action and affection. Chance and necessity. Firstness, Secondness, thirdness
    • Partners & financing
    • INCAA
    • Beginning of shooting
    • Jul 01, 2011
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