particular emphasis his relationship with Ernesto Che Guevara, and Salvador Allende amongst other figures of the period. The film was acclaimed and criticize by extremist elements on the right and particularly on the left where the Ismael Viñas portrayed in the documentary was perceived as betraying the Marxist ideology he once embraced.Sebreli, Juan José El tiempo de una vida. Ed. Sudamericana, Argentina, 2005. p.186 Directed by Montes-Bradley as Diana Hunter. Premiered at the Buenos Aires International Festival of Independent Cinema. The Great Pretender. Official Selection of the International Film Festival of Buenos Aires (BAFICI), 2007. Released in Uruguay as "No a los papelones". Release in Argentina as El gran simulador. The film presents the case of Nahuel Maciel who passed as a native Mapuche to further his credibility in journalism. As such he negociated the publication of fabricated interviews with Gabriel García Márquez, Umberto Eco, Mario Vargas Llosa and John Paul II. Initialy black listed in Argentina the film was finally released in Uruguay. However, the film was shown as part of the Official Selection at (BAFICI), 2007. On the director's request the film did not participate "in competition" to avoid further turmoil. In April 2008, the film was released on DVD in Argentina by Editorial Perfil, an opposition to the government media outlet. Crónicas Mexicas. The documentary follows in the footsteps of Hernán Cortés from the landing beaches of Veracruz on the golf coast of Mexico, to Tenochtitlan, the ancient capital of the Aztec. Montes-Bradley (as Rita Clavel) teamed with Martín Caparrós who becomes the omnipresent protagonist of this journey through geography and time. Caparrós acute sense of irony becomes a permanent fixture throughout the film, provoking the audience into uncharted: the politically incorrect history of Latin America. Tríptico Vertical, USA 1986. Not much is known about the nearly fifteen minutes film made with the Madres de Plaza de Mayo. It was filmed in Buenos Aires after the return to democratic rule in 1983. Music by Julio Lacarra. Experimental Frogments, (USA, 2000). Experimental work on images captured by Julio Cortázar in 8 mm and verses by Allen Ginsberg. The gestation of this short film was part of the dialogue between the director and Aurora Bernárdez during the investigation period that ended with Cortázar: notes form a documentary (2002) and Cortázar without a beard (Random House Mondadori, 2004). (3'). Freedom, (USA, 1986). Experimental work based on images captured by Montes-Bradley