Bafici 2025: Laura Casabe’s Sundance Sensation \’The Virgin of the Quarry Lake\’ Claims Top Prize at Festival Finale

In Buenos Aires, Argentina, as protests from retirees filled the streets and a worker’s strike paralyzed daily transit for a full day, the 26th iteration of the Buenos Aires International Independent Film Festival (Bafici) unfolded amidst this chaos. Over 13 dynamic days, the festival showcased an array of distinctive films and hosted various industry talks until wrapping up on April 13. Despite the disruptions caused by demonstrations and strikes, the event provided a vibrant platform for cinema enthusiasts and professionals alike.

Awards were presented during an event at La Boca’s Usina del Arte on Saturday night, marking the conclusion of the lively celebration. The honors went to Laura Casabe\’s \”The Virgin of the Quarry Lake,\” Juanjo Pereira\’s \”Under the Flags, the Sun,\” and Tomás Terzano\’s recent short film \”The Banner\” (\”ElBanner\”).

The thoughtfully selected lineup attracted crowds of movie enthusiasts to six art-house and mainstream theaters located at the center of the city’s theater district, with Teatro San Martín serving as the epicenter for industry activities. Meanwhile, the Museo del Cine, situated further downtown, hosted exclusive screenings and events concurrently. This year featured 298 films from 44 nations, including 116 titles originating from Argentina.

This year saw over 100,000 participants attending the event. As stated by Bafici’s artistic director Javier Porta Fouz, the festival keeps solidifying its position as a key cultural gathering spot within the city, with accessible and high-quality programming remaining crucial elements for its continued success.
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\”I feared that this year we might not achieve the same level of influence we previously had. Thankfully, the public chose to back the festival, along with the Argentine film industry. This has made us very pleased. Just like Jean Cocteau stated, \’Culture often thrives during challenging periods.\’”

Buenos Aires has never considered reducing investments in the arts, diverging from the trend of quickly cutting funds for art. Instead, the city does all it can to support the film industry. The festival not only aims to attract renowned artists but also makes sure the events are affordable—tickets cost less than what you’d pay for just a popcorn and soda set at the snack bar.

\”It’s a substantial accomplishment to make the festival available to everyone, showcasing a strong dedication to making culture more inclusive. Achieving this involves effective teamwork between government bodies and private enterprises. While financial backing from the Buenos Aires City Government plays a key role, additional crucial contributions come from corporations, organizations, and embassies providing considerable resources,” noted Porta Fouz.

He noted that over time, the festival has seen numerous transformations without sacrificing its essence, and at the same time, it has earned more recognition. This increased stature has attracted considerable attention from private investors, who wish to participate in the event and aid in making it successful. Their backing helps cover operational expenses and encourages a wider variety of events and content, enhancing the overall enjoyment for visitors.

Bafici managed to achieve its goal of presenting films that elicited strong reactions from audiences. The lineup included everything from arthouse extremes like Alexandre Rockwell’s unconventional buddy movie “Lump” and Spain’s Goya Award-nominated sensation at the Berlinale, Ion de Soto’s controversial “Mamántula,” to experimental works such as Khavn’s “Bomba Bernal” and Heinz Emigholz’s “The Suit.”

In these narratives, Manuela Irene’s poignant “The Monster of Xibalba” and Karni Haneman’s humorous road trip film “Tom’s Second Suicide” delve into themes of mortality. The collection also includes biting social commentary via Radu Jude’s critique of systemic corruption in “Continental 25,” alongside Julie Delpy’s touching refugee comedy “Barbarians.” Additionally, elements of fantasy emerge in Yashira Jordan’s newest short from the Locarno Open Doors program, titled “Dragon.” This piece was met with enthusiasm at its screening, offering a rich cinematic portrayal of everyday life in Bolivia against the backdrop of vigilantism and youthful diversion.

Several British documentaries focusing on rebellious musicians such as Poly Styrene with \”I Am A Cliché\” and the band The Slits through their film \”Here To Be Heard: The Story Of The Slits,\” were accompanied by movies that delve into themes of identity, including Javier Fuentes-León’s adaptation of Camila Sosa Villa\’s book titled \”Thesis On A Domestication.\” This particular work earned a special mention and was brought to fruition under the production company La Corriente Del Golfo run by Gael García Bernal and Diego Luna.

Another buzz title, \”Heads or Fails,\” an over-the-top Belgian comedy of errors from Lenny and Harpo Guit, (\”Aimer perdre\”), earned burgeoning theater-turned-film actor Maria Cavalier-Bazan the best international performance plaudit for her depiction of the film\’s boundless, crass and magnetic anti-heroine, Armande Pigeon.

\”I am excited about every new iteration of the festival because there’s always something fresh to uncover—from discovering a previously unknown director through one of their initial screenings, to witnessing a newcomer unveil their very first project, right up to encountering work from someone renowned that has not been shown in Buenos Aires before,\” said Federico Sanchez, who has participated in the event since its start.

Again and again, the identical scenario unfolds. Despite the vast array of movies offered annually through the catalogue, every issue manages to leave an indelible impression. Given how often this occurs, it’s evident that my selection isn’t random; these chosen films meet certain criteria for me. Thus, I acknowledge their uniqueness: reliving that sense of discovery, uncovering fresh wonders, revisiting the unfamiliar,” he continued.

That distinctive mode of existence—where each iteration differs yet retains genetic traces from prior ones—is another feature that encapsulates the essence of Buenos Aires: the harmonious mingling of various cultures. Each year, countless visitors from around the globe come together to celebrate independent cinema during this event. May this cinematic legacy continue uninterrupted. Here’s hoping the festival persists indefinitely,” he stated.

Maybe the most celebrated additions at the festival were the Argentina debuts of works by Casabe, Van de Counter, and Lucía Seles. The tickets for these events quickly ran out, with enthusiastic supporters desperately trying to secure spots through various social networks and some showing up directly at venues hoping to find available seats. Programs showcasing short films were particularly popular, earning numerous accolades. In particular, Tomás Terzano’s “The Banner,” starring Marcelo Subiotto known as \”Puan\”, which tells a chaotic story about an eventful day, won awards for Best Short Film and Best Director within the Argentine category.

\”Many people flock to Bafici for Argentine films, frequently causing all three screening slots to sell out rapidly—sometimes even within moments after tickets become available, such as what happened with \’The Virgin of the Quarry Lake\’ and \’Thesis on a Domestication.\’ These movies typically attract fewer viewers upon their initial release. You might argue: \’At Bafici, one gets to witness premieres; thus, those closely associated with the film attend.\’ However, Bafici provides more than just first looks—it serves as a hub for discussions and gatherings. This aspect likely contributes significantly to why so many individuals choose to watch Argentine cinema here,\” explained Porta Fouz.

\”Argentina’s film industry remains largely untapped. This is cinema that deserves wider theater audiences, even though alternative viewing methods have become increasingly common nowadays. I consistently argued that enhancing public policies related to distribution and screening would be essential. We could look at France’s approach from last year as an example; they managed to achieve a 44 percent share of their domestic market with French films alone,\” he stated.

In the midst of joyful pandemonium, international industry professionals were heard expressing their admiration for the city. Notably, Toronto-based artist Sook-Yin Lee, who served as a juror for both avant-garde and genre categories, wore a large T-shirt featuring Argentina’s beloved troublemaker, Mafalda. She praised the city\’s vibrant art community at a packed showing of her newest movie, “Paying For It.” Based on Chester Brown’s graphic novel, this film boldly addresses societal stigmas surrounding sex work and critiques contemporary romantic ideals.

Director Amalia Ulman had a similarly moving screening event and return visit, presenting the eccentric comedy \”Magic Farm\” starring Chloë Sevigny, which debuted at Sundance, to a packed theater filled with her relatives as well as locals from the filming location. These community members showed great affection towards the artist following a series of inquiries posed by curious attendees; some everyday people from nearby areas were also part of the film’s ensemble.

Screenwriter-director Bebe Kamin, known for her work on \”The Children of the War,\” along with tenacious producer Lita Stantic, who supported projects like Lucrecia Martel’s \”La Ciénaga,\” were honored with Lifetime Achievement Awards this year. Their accolades brought steadfast insight to artists navigating the stormy shifts in the audiovisual landscape.

Specific behaviors related to suppression, hostility, insults, and abuse have been deeply ingrained into this particular period in Argentine history,\” explained Kamin. \”The individuals responsible for shaping film policies in Argentina—officials and business leaders—are not truly part of the filmmaking world. They often show contempt towards the entire film industry, disregarding our collective voice and acting contrary to what represents us culturally and creatively. As such, they fail to understand who we genuinely are. We consist of technical experts, screenwriters, among others dedicated to promoting Argentinian cultural heritage through cinema. Respect is owed to us because cinema embodies national stories, reflects society’s dynamics—including both serious narratives and lighter moments—and has enriched our nation’s tapestry over a century.

Stantic echoed this view, stating, \”It is imperative that we stand up for our cinema to continue thriving. Throughout my over five decades in the film industry, we\’ve faced numerous challenges — including surviving a dark dictatorship—but we persevered. To be honest, here’s to the continued success of Argentine cinema.\”

BAFICI PRIZES

INTERNATIONAL COMPETITION

Grand Prize

\”Beneath the Banners, the Sun,\” (Juanjo Pereira, Paraguay, Argentina, U.S., France, Germany)

Best Feature Film

\”That Summer in Paris,\” (Valentine Cadic, France)

Best Short Film

\”My Mother Is aCow\” (Moara Passoni, Brazil)

Best Director

Tomás Alzamora Muñoz (\”Denomination of Origin,\” Chile)

Special Jury Prize:

\”Cut Short A Day,\” (María Villar, Argentina)

Best Performance

Maria Cavalier-Bazan (\” Heads or Tails, \” Belgium)

ARGENTINE COMPETITION

Grand Prize

\”The Virgin of Quarry Lake\” (Laura Casabé, Argentina, Mexico, Spain)

Best Feature Film

\”Every Bit of Fortitude,\” (Luciana Piantanida, Argentina, Peru)

Best Short Film

\”The Banner,\” (Tomás Terzano, Argentina, Spain)

Best Director

Tomás Terzano (\”The Banner,\” Argentina, Spain)

Special Jury Prize

\”The Confusion of Chile,\” (Lucía Seles, Argentina)

Best Performance

Andrea Carballo, César Troncosos (\”La Mujer del Río,\” Néstor Mazzini, Argentina, Uruguay)

Special Mentions

\”Dissertation on Domestication,\” (Javier Van de Couter, Argentina, Mexico)

\”LS83,\” (Herman Szwarcbart, Argentina, Germany)

\”The Ongoing Now\” (Ulises Rosell, Argentina)

AVANT-GARDE AND GENRE COMPETITION

Grand Prize

\”BLKNWS: Terms & Conditions,\” (Khalil Joseph, USA, Ghana)

Best Feature Film

\”Bomba Bernal,\” (Khavn, Philippines)

Best Short Film

\”Crash-Huang xi hu xi,\” (Dale Zhou & Hongxiang Zhou, USA)

Best Director

Marie Losier (\”Barking in the Dark,\” France)

Special Jury Prize

\”Cronica de lo Absurdo,\” (Miguel Coyula, Cuba)

Best Performance

Veronica Intile (\”I Laugh, Therefore I Am\” by Tetsuo Lumiere, Argentina)

Special Mention

\”Turtle Pursuing Turtle,\” (Víctor González, Argentina)

ACROSS COMPETITIONS

Best Argentine Feature Film Audience Prize

\”The Continuous Present,\” (Ulises Rosell, Argentina)

Buenos Aires City Grand Prix

\”LS83,\” (Herman Szwarcbart, Argentina, Germany)