An urban utopia in Argentina, which remained on the blueprints in 1929.

Le Corbusier arrives in Buenos Aires, a city of contrasts: luxurious avenues and slums, European gloss and Latin American chaos. The city that would become his obsession. Between lectures on new architecture, Le Corbusier paints a utopia: his plan for the urban space revolution becomes an obsession that stretches over decades: negotiations with the authorities, intrigues, disappointments, and the only realized trace – Casa Curutchet, as a ghostly hint of what could have been.In this film, Le Corbusier appears not just as a "bourgeois architect", but as a man whose grandiose ideas turned out to be too bold for that time and place.This is a story about how a genius can be lonely even in a crowd of fans. About why his projects, once ridiculed, seem prophetic today. And about the fact that Buenos Aires has not become the city of the future - but maybe it will still be?

Plan para Buenos Aires

Летний архитектурный фестиваль

Big hall

Модернистская драма в документальной оболочке: история знаменитой виллы на Французской Ривьере.

Дом — это манифест. Особенно если он спроектирован с любовью. В конце 1920-х Эйлин Грей, икона дизайна и архитектуры, строит на Лазурном Берегу виллу E.1027 — манифест свободы, чистых линий и женского гения. Дом, названный любовным шифром (E — Eileen, 10 — J, Jean, 2 — B, Badovici, 7 — G, Gray), должен был стать убежищем для нее и ее возлюбленного, архитектурного критика Жана Бадовичи. Но вместо этого он превратился в арену для мелкой зависти и большого предательства.

Вскоре после завершения строительства виллы Грей и Бадовичи расстались, и дом остался ему. В этот период Ле Корбюзье не раз бывал в гостях у Жана Бадовичи, а в конце 1930-х создал росписи на белоснежных стенах дома, что сама Грей сочла вандализмом. Затем Ле Корбюзье фактически присвоил себе авторство E.1027, позволив архитектурному миру поверить, что вилла — его работа.
Драматическая сторона событий как бы приглушается документальной. А мы получаем еще один пример того, как мужское эго переписывает историю.

E.1027 - Eileen Gray and the House by the Sea

E.1027. Эйлин Грей: Дом у моря

Одинокий воин итальянского модернизма: между ремеслом и искусством

В мире, где формы часто подчинены моде, а материал прихоти, появляется он: Анджело Манджаротти. Архитектор, дизайнер, скульптор — но ни одна из этих категорий не вмещает гения его личности. Режиссер Давиде Маффеи исследует фигуру архитектора в контексте итальянской культуры XX века, раскрывая не только его профессиональные достижения, но и человеческие качества — внимание к труду других людей и к материалам, которые в его руках становились предметом почти научного, инженерного интереса.

Маффеи собирает Манджаротти по крупицам: архивные кадры, эскизы, интервью с теми, кто знал его близко, и теми, кто просто был очарован его работами. Манджаротти не искал славы, он искал истину в балансе, в хрупкой грани между ремеслом и искусством. В этой ленте Италия вновь становится родиной не только великих мастеров, но и великих идей.
Почему этот «одинокий воин» так и не вписался ни в один -изм, оставшись вечным диссидентом итальянского модернизма?

Alfabeto Mangiarotti

After leaving the Sydney Opera House project, Jørn Utzon built Can Lis in 1972—a home for his family on Mallorca. More than a house, it was an architectural experiment: a reimagining of Mallorcan traditions, a dialogue with local stone, a surrender to the landscape. Embedded in cliffs above the sea, every opening frames light and view like a director guiding a camera.

Today, the Utzon Foundation preserves Can Lis—architects reside there in summer, while the Danish Arts Council hosts residencies for seven months a year. But this film explores something deeper: how the space alters our perception of time and movement. Over a single day, interviews, archival fragments, and choreography merge into an unconventional architectural document.

Just as Utzon designed Can Lis—not with blueprints, but through full-scale models and improvisation with local builders—this film doesn’t just document. It inhabits.

Lys uden sol

Свет без солнца

Inside one of the most famous bureaus of our time: How the architecture of the future is created is a meditative.

Journey into the world of one of the most famous architectural bureaus of our time. Shot with the same love for beauty with which Renzo Piano talks about architecture, the film immerses the viewer in the atmosphere of workshops in Genoa and Paris, as well as on construction sites around the world – in Europe, Asia and America.

However, this is not a portrait of one person, but a living chronicle of the life and work of an entire team. Renzo Piano appears on the screen infrequently, giving way to a team for which architecture is a constant movement, search and dialogue. The film consistently reveals the RPBW method, observing the bureau's projects at different stages of their implementation. Five places, three continents, different social and environmental contexts, united by one philosophy: to create spaces in which you want to live and work. Inside the workshops, there is an amazing calm and tranquility, uncharacteristic for large companies – you really want to create here.

This film is not so much about architecture in general, but about how harmony is born – in details, in dialogues, in the silence of workshops, where thought turns into form.

Inside Renzo Piano Building Workshop

A home for the "Scream". How Big Changes Start with Small Teams and bold ideas

The main character of the film is the new Munch Museum in Oslo, which opened in 2021 and caused heated controversy with its unconventional and ambitious architecture. Now it is a cultural center that has transformed the shore of the Oslo Fjord from an industrial port into a point of attraction for citizens and tourists; a building filled with masterpieces and permeated with light thanks to the use of glass and recycled perforated aluminum. The authors of the project, architects Juan Herreros and Ian Richter, sculptor Tracey Emin, who created a huge female figure symbolically depicting Munch's mother, and everyone from the cashiers to the director are passionate about the common idea of creating a museum of the future in the Norwegian capital that will touch people's hearts as much as the paintings of Edvard Munch stored in it.

More than a museum

Copenhagen is a city of paradox: how the future displaces the past.

A documentary reflection on what it really means to be the best city to live in. The film explores Copenhagen, which has transformed from an industrial center into an advanced laboratory of urban experiments and has become the object of close attention of the architectural community.

Over the past 30 years, the city has undergone a rapid transformation. Gentrification has led to an eightfold increase in real estate prices, and the peak of urbanization has called into question the very idea of a fair city.

The director views Copenhagen as a phenomenon, criticizing capitalist development mechanisms and the actions of developers, asking the question: when does the system begin to destroy itself? Through the prism of the experience of ordinary citizens and the social responsibility of architects, the film raises the question of who is building the city and for whom and why the experience of Copenhagen is so important for modern society.

Best In The World

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