Remediations and Affect

  • Inela Selimović


Albertina Carri’s Los rubios has inspired abundant—and radically differing—interpretations among critics since its debut in 2003. Although generationally or thematically linked to other directors and their films—Andrés Habegger’s (h)Historias cotidianas (2000), María Inés Roqué’s Papá Iván (2000), Marcelo Piñeyro’s Kamchatka (2002), and Nicolás Prividera’s M (2007)—Carri carved out Los rubios’s singular impact aesthetically and politically both at home and abroad almost instantly. At the rudimentary thematic level, Carri—as a child of the disappeared political dissidents Roberto Carri and Ana María Caruso—sets out to crystalize mnemonically her own adult ties to the Carris’ lives before and during Argentine state terror (1976–1983). Yet, as has already been traced by several critics, Carri’s film ultimately destabilizes such a possibility. Los rubios does so by staging the impossibility of “the reassuring certainties of the archival image” in regards to the filmmaker’s personal attempts at revisiting, re-narrating, and recapturing her parents’ dissident subjectivities, activism, and ideological closeness to the chief Peronist guerilla group known as montoneros.


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© The Author(s) 2018

Authors and Affiliations

  • Inela Selimović
    • 1
  1. 1.BostonUSA

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