Alber na Carri wants to make a lm about Isidro Velázquez, an almost mythical outlaw gure from northern Argen na who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre- Revolu onary Forms of Violence” and a lm was made about his story, although both father and lm disappeared during the Dirty War. Legends, families, poli cal alignments, cinema: none o er a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to ar- rive at a landscape of cracked earth and thorns. Car- ri’s narra on is anyway not what it might once have been, a mother doesn’t tell things the same way as a daughter. Legends, families, poli cal alignments, cinema: each produces images and these are what appear on the screen, in one channel, three chan- nels, ve. It’s all material plucked from an archive and a wonderfully eccentric one at that: news reels, ads, home videos, interviews, movies, abstract forms. Images that could stem from old lms, lost lms, new lms, possible lms, impossible lms; this is a lm for which no other images will do.