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What is director Alberto Fischerman's desire, in his films, to annihilate everything, to question even his own trajectory, in order to once again "re-invent the games" (or rather, to establish other rules of the game)? According to my hypothesis, the common denominator that reveals the intentionality of rupture is associated with a frank assumption of theatricality as a means of demonstrating the artificial and problematic character of all cinematographic representation. It is not only about the appearance of theater on the screen in the form of quotations or explicit references, even taking into account that one of them was based on a previous setting. What brings them together is the assumption of an interdisciplinary contact in a more subtle way that, in short, what it proposes is to blur the limits between both artistic practices to place them in a stratum in which indetermination prevails as a principle. And, from this place-another, these films found their own logic, that is to say: they invent games. Starting from these preliminary considerations, in the present work I seek to examine the mentioned questions taking as axis the film Gombrowicz, o la seducción. In it there subsists a predilection for the theatrical understood as a favorable environment to break with the ordinary mechanisms of cinematographic narration. As in the sixties and seventies, the appeal to this artistic practice fulfills a variety of functions: on the one hand it serves to tear down certain boundaries that distinguish fiction from documentary; in another sense it also helps to dilute the distance between a prefixed narrative construction, even in certain choreographic moments, of the emergence of the random; and, likewise, it intervenes provoking a questioning of the usual illusionist tendency of the cinema from a predilection for experimental theatrical forms governed by the putting in evidence of the artifice. In the manner of a ghost-dramatic resource that also turns out to be substantial within the analysis displayed below-the theatricality causes the mobilization of several problems related to representation and its possibilities. As late work, framed in the context of the Argentine post-dictatorship, the approach of the inscription of the theatrical and the indeterminability of the limits will allow us to see how some constants subsist in the work of Alberto Fischerman and how they operate in a temporary lapse different from his beginnings in the field of cinematographic direction.
