Daniel Burman (born 29 August 1973, in Buenos Aires) is an Argentine film director, screenplay writer, and producer. According to film critic Joel Poblete, who writes for Mabuse, a cinema magazine, Daniel Burman is one of the members of the so-called "New Argentina Cinema", which began circa 1998. Film critic Anthony Kaufman, writing for indieWIRE, an online community of independent filmmakers and aficionados, said Burman's A Chrysanthemum Burst in Cincoesquinas (1998) has been cited as the beginning of the "New Argentine Cinema" wave. Biography Burman is of Polish-Jewish descent, and he was born and raised in Buenos Aires. He holds both Argentine and Polish citizenship, like his films' character, Ariel. He studied law before changing to audiovisual media production. In 1995, he launched his own production company together with Diego Dubcovsky, BD Cine (Burman and Dubcovsky Cine). Burman is also a founding member of the Academy of Argentine Cinema. His loose trilogy of films, Esperando al Mesías (2000), El Abrazo Partido (2004), and Derecho de Familia (2006), were all written and directed by Burman and star Uruguayan actor Daniel Hendler. They are largely autobiographical, dealing with the life of a young neurotic Jew in contemporary Buenos Aires. He frequently collaborates with other Argentine Jews, notably writer and klezmer musician Marcelo Birmajer, and César Lerner. His comedic touches often bring comparison to Woody Allen, a comparison Burman is quick to reject. He said, "It's not a measurable comparison. But I'm very happy with it. I admire him more than anyone else in the world." Burman's films have been featured in many film festivals around the world. El abrazo partido (2003) took the Grand Jury Prize at the Berlin International Film Festival, as well as best actor for Hendler. Burman was co-producer of the successful 2004 film, The Motorcycle Diaries, as well as Garage Olimpo (1999). Opinions on filmmaking In an interview with Brian Brooks, who writes for indieWIRE.com, an online community of independent filmmakers and aficionados, Burman discussed his approach to filmmaking. He said: "I don't have goals when I make a film, except to create as faithfully as possible the story I wanted to tell, and that the sensations that provoked me to tell the story are also caused when reading the script." "I don't love film in itself; it's not like I was debating the merits of using different types of camera-work, like traveling shots. I love film because