The Days of June (Los Dias de Junio)

Institute History

  • 1988 Sundance Film Festival


The period of 1985 marked the arrival on screen of the first of the Argentine films entirely conceived under conditions of democracy and not surprisingly, brings this first of the return-from-exile dramas. Responding to the challenge of the new dramatic demands of this democracy formation, Fischerman sets his protagonist’s return in the final days of Malvinas (Falklands) war and the Pope’s visit to Argentina.

To sharpen his point, Fischerman has cast Norman Briski, the well-known exiled Argentine actor, as the film’s own returning actor. As he looks up his old friends, bringing them together for the first time since his departure, the memories that are set into motion lead to a casual action of far greater danger, and consequence, then anticipated. Los Dias de Junio perfectly conveys the fragility of daily life under the dictatorship, in particular the anxiety in treading close to the limits of permissible conduct without ever knowing exactly when that line might be crossed, nor the finality of such a misstep. The four friends, drawn from a cross-section of Buenos Aires professional and intellectual society, suggest the range of political positions and personal worries characteristic of the military period.

A director of the generation that came of age in the 60s, Fischerman has worked in advertising and commercials while making number of short and feature films, including the documentary Gombrowicz (The Seduction). He has just had his first commercial hit with LA Clinica del Dr. Cureta (1987).

— Tony Safford

Screening Details

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