Control Alt Destroy
Argentina, 1983. After seven years of brutal repression marked by death, disappearances, censorship, unrest and conservatism, the fall of the last military dictatorship allowed a joyous return to demo…
Control Alt Destroy
Argentina, 1983. After seven years of brutal repression marked by death, disappearances, censorship, unrest and conservatism, the fall of the last military dictatorship allowed a joyous return to democracy. Political parties resumed their activities in full force, demonstrations drew thousands of people, exiled and censored voices came back, and once-banned books resurfaced in bookstores. For many, however, it was not only a political spring but also a sensual awakening, playfully populated by semi-nude actresses of the modest Argentine destape in magazines, films and television. For teenagers of the time, following a speech by Raúl AlfonsÃn or Ãtalo Luder was just as important as discovering the latest photos of Silvia Peyrou or Cecilia Di Carlo. Nos habÃamos ratoneado tanto revisits those years of the Argentine destape, which brought films like Atrapadas, Sucedió en el internado and En retirada, examples of local sexploitation, as well as magazines such as Shock and Destape-publishing phenomena never repeated again-or Libre, where it was common to find a topless photo spread of Elvia Andreoli alongside articles on the methods of military repression. The documentary features interviews conducted between 2005 and 2011 with several of the leading women of those years, including Silvia Pérez, Sandra Villarruel, Noemà Alan, Beatriz Salomón, Mara Kano, Dalma Milebo, Susana Torales, Vicky Olivares, and Andreoli and Peyrou themselves. Journalists who worked on those editorial projects also appear, such as Carlos Ares, Jorge Manzur and Norberto Chab, along with others who reflected on the phenomenon, including Carlos Ulanovsky and Jorge Guinzburg. One segment is dedicated to Spain's own post-Franco destape, explained by José MarÃa Ponce, a porn director and author of one of the few books on the subject. In Argentina, some were simply swept away by that wave of politics and naked bodies. "The 1980s hit very hard; everything seemed to explode at once," recalls Silvia Peyrou. "I don't know if the destape caught me, or I caught the destape," adds Noemà Alan. Others, like Guinzburg, were more critical: "In Spain the destape was associated with sexuality, and here as well," he said, "but I think the most interesting part of that time was the ability to say what you thought without fear of being killed." The 72-minute film also includes contributions from specialist-fans such as journalist Marcelo Oliveri and screenwriter Sebastián Rotstein, as well as AnÃbal di Salvo, director of Atrapadas. The film was directed by journalist Marcelo Raimon, with original music by Miguel Zavaleta, who composed the song Lejos.
Control Alt Destroy
Action,Comedy,Crime
Film Details
Argentina, 1983. After seven years of brutal repression marked by death, disappearances, censorship, unrest and conservatism, the fall of the last military dictatorship allowed a joyous return to democracy. Political parties resumed their activities in full force, demonstrations drew thousands of people, exiled and censored voices came back, and once-banned books resurfaced in bookstores.
For many, however, it was not only a political spring but also a sensual awakening, playfully populated by semi-nude actresses of the modest Argentine destape in magazines, films and television. For teenagers of the time, following a speech by Raúl AlfonsÃn or Ãtalo Luder was just as important as discovering the latest photos of Silvia Peyrou or Cecilia Di Carlo. Nos habÃamos ratoneado tanto revisits those years of the Argentine destape, which brought films like Atrapadas, Sucedió en el internado and En retirada, examples of local sexploitation, as well as magazines such as Shock and Destape-publishing phenomena never repeated again-or Libre, where it was common to find a topless photo spread of Elvia Andreoli alongside articles on the methods of military repression.
The documentary features interviews conducted between 2005 and 2011 with several of the leading women of those years, including Silvia Pérez, Sandra Villarruel, Noemà Alan, Beatriz Salomón, Mara Kano, Dalma Milebo, Susana Torales, Vicky Olivares, and Andreoli and Peyrou themselves. Journalists who worked on those editorial projects also appear, such as Carlos Ares, Jorge Manzur and Norberto Chab, along with others who reflected on the phenomenon, including Carlos Ulanovsky and Jorge Guinzburg. One segment is dedicated to Spain's own post-Franco destape, explained by José MarÃa Ponce, a porn director and author of one of the few books on the subject.
In Argentina, some were simply swept away by that wave of politics and naked bodies. "The 1980s hit very hard; everything seemed to explode at once," recalls Silvia Peyrou. "I don't know if the destape caught me, or I caught the destape," adds Noemà Alan.
Others, like Guinzburg, were more critical: "In Spain the destape was associated with sexuality, and here as well," he said, "but I think the most interesting part of that time was the ability to say what you thought without fear of being killed." The 72-minute film also includes contributions from specialist-fans such as journalist Marcelo Oliveri and screenwriter Sebastián Rotstein, as well as AnÃbal di Salvo, director of Atrapadas. The film was directed by journalist Marcelo Raimon, with original music by Miguel Zavaleta, who composed the song Lejos..