Eduardo Montes-Bradley

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Eduardo Montes-Bradley
Ebm portrait.jpg
Portrait, 2010
Born (1960-07-09) July 9, 1960 (age 59)
OccupationFilmmaker, photographer, writer
Years active1979–present
Spouse(s)Soledad Liendo
RelativesR-E Montes i Bradley, Eduardo Bradley, Juan A. Montes, Enrique Ferrarese.

Eduardo Montes-Bradley (born July 1960) is an award-winning documentarian.[1][2][3][4][5] His early work dates back to the early 1980s social conflicts in Central America. In the late 1990s he developed a series of biographical essays on Latin American intellectuals and writers such as Jorge Luis Borges, and Julio Cortázar for the now extinct Contrakultura Films.[6] His documentary films also explored the Caribbean and Afro-Brazilian cultures in films like Samba On Your Feet.[7][8] In 2008 Montes-Bradley co-founded Heritage Film Project[9][10] a publishing effort with an academic approach producing films on Holocaust survivors, social activists, history, literature, science and the arts. Most of these films are available through academic and public libraries and have been shown on American and European television. In December 2019, the Ministry of Culture of the City of Buenos Aires presented "From Here and There: A Montes-Bradley Retrospective”, including nineteen documentaries produced in Argentina, United States, Brazil and Germany between 1999 and 2019.[11] Montes-Bradley's written essays have been translated and published by Random House, Sperling & Kupfer, Editorial Norma, and Editorial Sudamericana.

Early life[edit]

Still from "Railroad terminal in Rosario"

Montes-Bradley came of age in Buenos Aires. In 1973 he was admitted to Colegio Nicolás Avellaneda.[12] On May 25, 1973, President Lanusse is succeeded by president Cámpora ending seven years of military rule. In June of that same year, Montes-Bradley joined the Unión de Estudiantes Secundarios (UES).[13] The deaths of Pablo Picasso, Pablo Casals, Pablo Neruda and Víctor Jara, all of which occurred that year, had a profound impact on him and in his generation. Montes-Bradley recalls 1973 as a milestone: "... because of the unique experience of living in a home engulfed by music and poetry in a country at the brink Civil War." On March 24, 1976, general Videla led a military Coup d'état deposing president Isabelita, thus inaugurating an era of state-sponsored terror resulting in the death and despairing of thousands. Montes-Bradley finds refuge in New York.


In the early 1980s he works as a correspondent for El Heraldo del Cine,[14][15][14][15][16] a Buenos Aires-based trade publication catering Latin America's film industry. He also contributed as a freelance reporter to The Hollywood Reporter. As a correspondent for El Heraldo del Cine, he contributed with a series of interviews with, among others with Jack Valenti, Menahem Golan, and Lalo Schifrin.[17] His first contribution to filmmaking can be traced to Margareta Vinterheden's Man maste ju leva, Sweden, 1978.[18] In the early 1980s Montes-Bradley worked as assistant editor in documentary films about the civil war in Nicaragua, and El Salvador. The latter produced by the insurgent media collective of Radio Venceremos.[19] In 1984 Montes-Bradley establishes The Entertainment Herald, a bilingual film magazine distributed by subscription and at film festivals in Europe and Latin America.[20][21] In 1986, he was appointed as Director of International Sales at Filmtrust Motion Picture Licensing,[22] an independent production and distribution company based in Los Angeles.[23] Three years later, Montes-Bradley joins producer Javier Gracia to write, produce, and direct Double Obsession,[24] a straight-to-video thriller released by Columbia Tri-Star starring Maryam D'Abo, Margaux Hemingway, Scott Valentine and Frederick Forrest.[25] In 1995 he married actress Sandra Ballesteros, leading-lady in "El seKuestro" (The Kidnapping), a politically-incorrect satiric-parody about a guerrilla group in the imaginary Latin American nation of Rio Hondo. "El seKuestro” received negative reviews, and ultimately became a cult movie, as well as Montes-Bradley's last known fiction.[21] In 1997 Montes-Bradley returned to the documentary format with "Soriano"[26] a biographical-sketch about Argentine writer Osvaldo Soriano. Soriano[27] would be the first of more than thirty documentary portrayals of intellectuals, artists, and writers to follow. Montes-Bradley has often been credited under pseudonym such as Diana Hunter, and Rita Clavel.[28] He's credited under his own name and with pseudonyms including Diana Hunter, Ana Lobos, Cándida Beltran, Emma Padilla, Lupe Vélez y Rita Clavel, pen-names inspired in leading ladies from the Mexican silent era.

Montes-Bradley is a provocative filmmaker who inaugurated a style by interrogating paradigmatic icons of the Latin American culture, and by doing so within the spirit of a cultural agitator.

— Alejandro Ricagno, La Cinémathèque, Toulouse, March 28, 2003.

Among his most recent work are Julian Bond: Reflections from the Frontlines of the Civil Rights Movement, Rita Dove: An American Poet, Evita: The Documentary, White: A Season in the Life of John Borden Evans, and Samba on Your Feet. Montes-Bradley is also engaged in volunteer work as member of the board with the African American Heritage Center,[29] member of the UCLA UNESCO Chair on Global Citizenship Education Advisory Committee,[30] and was most recently awarded as UCLA Regents Lecturer.[31][32]

Partial filmography[edit]

Montes-Bradley has contributed to the University of Virginia by the Heritage Film Project with documentary work on a variety of academic subjects ranging for Social Studies, English Literature, Civil Rights Movement, Biomedical Engineering, Cellular Biology, Early American History, and History of Slavery at the University of Virginia. Previous works include a series of biographical profiles on Latin American artists and writers produced by the extinct Contrakultura, with the support of the National Institute of Cinematography and National Endowment for the Arts. Some of the most relevant titles in the series were Andrés Rivera, Héctor Tizón, Pérez Célis, Ana María Shua, Ernesto Deira, Julio Cortázar, and Jorge Luis Borges. Most recent titles include:

Sabre Awarded to “A Soldier’s Dream” by the 9th Int'l Historical and Military Film Festival in Poland, 2018[33]

A Soldier's Dream.(The Milt Feldman Story) is a biographical portrayal of private Milt Feldman, a US Veteran with the 106th Infantry Division captured at the Battle of the Bulge in The Ardennes. Mr. Feldman was later marched as POW and survived the hardships of Stalag IV-B until Liberation by troops of the Red Army.[34] The second act on the film is a flashback of Mr. Feldman's childhood in Brooklyn in the 1930s. "A Soldier's Dream” premiered in Pleasanton on August 11, 2018,[35] "A Soldier’s Dream” won Best Documentary at the 9th Historical and Military Film Festival, Warsaw, 2018 and Best Feature Documentary at Port Orchard Film Festival (2019). The film also made the Official Selection at Western European Film Festival, 2019; San Francisco Veteran's Film Festival 2018, Flickers'Rhode Island International Film Festival, 2018 and the Great Western Catskills International Film Festival, 2018."A Soldier's Dream” aired on PBS.[36] HD | 60 minutes[37]

The Gillenwater Story, Biographical film on Jay Y. Gillenwater, the academic physician—and a woodland gardener with an old-school belief in family, friendship, and self-sufficiency. This portrait of a plain-spoken scientist who married his childhood sweetheart, brings out the wisdom of an unassuming Southerner and the moral compass of an exemplary man[38][39] HD | 30 minutes.,[40]

University of Virginia collection[edit]

The series consists of short as well as feature biographical essays on humanists, scientists and places at the University of Virginia produced by the Heritage Film Project. The series originated with a portrait of Jared Lowenstein[41] where the founder and curator of the Jorge Luis Borges Collection recall his experience with the author of "The Aleph".

Monroe Hill (Cradle of the University of Virginia) Documentary-essay tracing the roots and historical context of James Monroe's first farm-plantation in Albemarle County. The property, known as Monroe Hill, predates Highland, and presently serves as the administrative offices of Brown Residential College. Monroe Hill is located in grounds of the University of Virginia.[42] The documentary focuses on the ten years that followed Monroe's acquisition of the farm and the process of the French Directory, and the director utilized selected footage from rare historical films by D. W. Griffith to contextualize the late 18th Century period. Color and Black and White | HFP | HD | 60 min. | 16:9

Unearthed and Understood. Documentary short awarded by the President's Commission on Slavery and the University (PCSU) at the University of Virginia. The film was presented at "Universities Confronting the Legacy of Slavery" on October 16, 2014, in Charlottesville. Heritage Film Project | University of Virginia Collection, 2014. HD | 18 minutes.[43]

Rita Dove: An American Poet.[44] Biographical sketch of Rita Dove. This eleven-part, hour-long documentary began as a series of conversations between Rita Dove and the filmmaker which took place in Charlottesville between September 2012 and October 2013. The conversations were later edited and combined with hundreds of still images and several hours of home movies from the Dove family's collection. The intimacy of the film's dialogue brings a uniquely personal insight into the wide range of Dove's artistic passions. Most of the film's images are the results of the efforts of Rita Dove's father (Ray A. Dove) to record their family's life in the 1950s and 1960s.[45] Rita Dove: An American Poet premiered in Charlottesville on January 31, 2014[46][47][48][49][50][51][52] Heritage Film Project | University of Virginia Collection, 2014. Distributed by Filmmakers Library & Alexander Street Press, USA.[53] Color and Black and White, HD, 50 min.[54]| HFP | HD | 50 min. | 16:9

I immediately liked the way Montes-Bradley looked at the world and was very impressed with his line of questioning, which was refreshingly different from the boiler-plate approaches I had grown accustomed to (and tired of) hearing. And thus, "Rita Dove: An American Poet", came to be.

— Rita Dove, Charlottesville, March 17, 2015.[55]

Julian Bond: Reflections from the Frontlines of the Civil Rights Movement.[56][57] Best Documentary 4th Annual Baltimore International Black Film Festival, 2017. Portrait of social activist and former Georgia legislator Julian Bond. Best Documentary Award at the 4th Annual Baltimore International Black Film Festival, 2017.[58][59] Heritage Film Project | University of Virginia Collection, 2012. Distributed by Filmmakers Library & Alexander Street Press, USA.[53] Color and Black and White, HD, 34 min.[60]

Visual arts collection[edit]

The collection explores the relationship the artists and their work. The series originated with a portrayal of Perez Celis in 2005. The following titles are among the most recent.

Latin American writers collection[edit]

Montes-Bradley with Rivera and crew members.

Ongoing biographical profiles on Latin American writers. At least sixteen films on Latin American Writers were produced under the auspice of Contrakultura Films, an imprint of Iruña Films and are listed on a separate entry. The Contrakultura catalogue included biographical documentaries on Andrés Rivera, Héctor Tizón and Juan Filloy amongst others, was introduced by Eduardo Montes-Bradley at the Biennial Northeast Regional Meeting "Luso-Hispanic Presence in the Changing Cultural Landscape of America", organized by the American Association of Teachers of Spanish and Portuguese at Yale University.[65] Other titles in the Latin American Writers Collection are:

Cortázar: apuntes para un documental (Cortázar: Notes for a Documentary), approaches Julio Cortazar's political views, and perspectives on the Latin American Left.[66][67][68][69] The film also presents an original perspective on the relationship between the author and Carole Dunlop in Paris. Moments of this relationship are vividly recalled through the use of homemade movies made by the celebrated couple. The film also introduces previously unseen footage filmed by Cortazar and Aurora Bernardez in the gardens of the Mexican Embassy in New Delhi during the period in which the ambassador was Octavio Paz.[70] The 8mm footage shows Cortázar and Bernardez, as well as Octavio Paz and his wife Elena Garro dancing with a large group of natives, presumably embassy personnel.[71] The film includes interviews with Claribel Alegría, Ernesto Cardenal, Manuel Antín, Carlos Montemayor, and Sergio Ramírez among other writers and intellectuals. Filming Locations: Managua, Buenos Aires, Paris, Linz Am Rhien, Madrid, and Rome. The film was nominated by the Argentine Film Critics Association for Best Documentary in 2003. Premio Cóndor de Plata.

Bayer with 16mm Bolex during the filming of Los cuentos del Timonel.
Excerpt from "Soriano"

Los cuentos del timonel (Tells of the Helmsman)[72] Biographical sketch on Osvaldo Bayer, a controversial political figure, a journalist and historian born in the German Colonies of Santa Fe province in 1927. However, Mr Bayer grew up in Buenos Aires, amidst the German community of barrio Belgrano where Bayer continued to live in the Summers of Argentina thus alternating with Linz Am Rhien from Summer to Summer. From this period in Belgrano Bayer evoques the Adolf Hitler's birthday being celebrated by thousands at the German Club - Club Albatros "They came in into the streets of Belgrano in a caravan, often lead by the German Ambassador to Argentina Baron Edmund von Thurman. According to Bayer, when the ambassador arrived at the German Club the band will start playing Hitler's favorite tune the Badonviller Marsch. However, the director preferred to capture "the other Osvaldo Bayer" the one living significantly more comfortable in Linz am Rhein.[73] After its release in Buenos Aires, "Los cuentos del timonel" was awarded Best Documentary by the Argentine Film Critics Association 2002. The film finds Bayer a witness of privilege to the second half of the 20th century in Latin America and Europe, which seems to be a constant theme in Montes-Bradley documentary work. Bayer's recollections on camera include a highly politicized period during the Peronist regime, in which he worked as helmsman on a river Navy boat patrolling the Paraná river between Buenos Aires and Asuncion. The title of the film derives from that vignette. With a peculiar sense of humor,[74] Mr Bayer explains how the strikes against Perón begun and how his political involvement ultimately lead to his determination to leave the country and move to Berlin where he arrived shortly after the end of World War II. This chapter focusing on his experience during this period is quite eloquent and revealing. According to Osvaldo Bayer's his apartment had a clear view of the Berlin Tempelhof Airport from where the Berlin Airlift was carried on.At a different point in the film, Bayer also recalls the night the Berlin Wall was built and further describes the hazards of everyday life with skyrocketing inflation. During the making of this documentary film between Linz Am Rhien and Berlin, Bayer also explores his relationship with Paco Urondo, Julio Cortázar, Hector Olivera, Osvaldo Soriano, Rodolfo Walsh and others.[75] Los cuentos del timonel was filmed using a Bolex 16mm and a Sony Handycam DCR-VX1000.

Other titles in the series are Harto The Borges presented at the 12e Rencontres Cinémas d'Amerique Latine, Toulouse, Mars 2000.[76][77] Nominated for a Cóndor de Plata, 2003[78] and Soriano (The documentary)[79]

Writers Made in Brazil in an ongoing series of profiles on Brazilian writers produced -in part- with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C..[80][81] The following titles are the most recent and relevant.

Saavedra: Between Berlin and a place called Peixoto is a biographical Sketch on Brazilian author Carola Saavedra. Filmed on location in Berlin and Rio de Janeiro. Premiered October 9, 2013, at Frankfurt International Book Fair.[82] Oficial Selection Pedra Azul Film Festival.[83] Filmmaker produces documentaries on Ronaldo Correia de Brito and José Luiz Passos" Diario de Pernambuco|Cinema|October 27, 2014 [20]</ref>[84] Heritage Film Project + Writers Made in Brazil, 2013. HD, 30 min. Produced in part with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C.[85]

Lisboa. Is a biographical portrayal Brazilian writer Adriana Lisboa Fábregas Gurevitz, and her experience as a Brazilian expat living in Louisville, close to Boulder where the documentary was filmed in February 2012.[86] The film presents the writer and her perspectives on exile and literature, on living abroad and in a bilingual universe.[87] Lisboa premiered on WHTJ PBS / WCVE PBS, Virginia, also aired by Rocky Mountain PBS. Italian Avant Premier with Italian subtitles at Festivaletteratura | Mantova, Italy on September 5, 2014[88] Heritage Film Project + Writers Made in Brazil, 2012. HD, 30 min. (English) Produced in part with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C..[89]

The Latin American collection[edit]

Independently produced and distributed films dealing with Latin American cultural and political issues, and remarkable individuals.

Evita (Documentary). 2007. Documentary on Eva Duarte, former First Lady of Argentina.[90] Evita, the illegitimate child without social or economic standing, was determined to make it big in the world of entertainment. Her love affair with a rising political star (Juan Domingo Perón) transformed her into a vital part of Perón's plans to seduce a nation. The charming Evita became a skilled public speaker that fitted perfectly with politics in Argentina. Just imagine Marilyn Monroe with the charisma of Princess Diana, elevated by Joseph Goebbels´s propaganda machine as the indisputable Spiritual Leader of the Nation. The documentary appears to be fair, perhaps the first biography on the subject that strives to be balanced. Evita was screened at the Virginia Film Festival, in Charlottesville, on November 4, 2011.[91][92]

Lineup of Samba veterans in the favelas of Rio during the filming of Samba on your Feet

Che: Rise & Fall. DVD Release Date: July 13, 2006 by Westlake Entertainment, German Release, 20007, Latin American premiered on NatGeo. CHE: Rise and Fall, follows on the trials and tribulations of Ernesto Guevara in the words of old friends and comrades-in-arms.[93] Includes the testimonies of Guevara's friend Alberto Granado,[94] and members of his elite military entourage Alberto Castellanos, Enrique Oltuski, Argudín Mendoza, Enrique "Pombo" Villegas. Locations: Havana, Congo, Bolivia. Super 16mm. Aspect Ratio: 1.66:1

Samba On Your Feet USA | Brazil 2005. The documentary explores behind the scenes of Carnival in Rio de Janeiro, revealing the preambles of the cultural clash leading to Samba, an indigenous cultural tradition in Brazil.[95] Samba On Your Feet includes archival material and interviews with iconic figures of Brazilian Carnival and Samba. "Samba On Your Feet" was selected to participate at the Toulouse Latin American Film Festival 2008, Rio de Janeiro International Film Festival 2006, Buenos Aires Independent Film Festival (BAFICI) 2007, and Toronto Latino Film Festival.[96][97] The film is distributed by Filmmakers Library. Worldwide rights by Alexander Street Press. The documentary gained the recognition of African American Studies.[98][99][100][101]

Ismael Viñas: Witness of a Century. Original title: Ismael Viñas: Testigo del siglo.[72] Film based on the memoirs and recollections of Ismael Viñas: legendary political figure, economist, founder of Movimiento de Liberación Nacional (MALENA),[102] former Undersecretary of Culture during the Revolución Libertadora. Viñas reappears in front of the camera after twenty-six years in self-imposed exile, first in Israel and finally in the US. During a series of conversations with Montes-Bradley in Florida, USA, Viñas reflects on his youth, on his brother David, on his father, a well political character during the times of Hipólito Yrigoyen, and a Federal Judge in Patagonia during the uprisings portrayed in Rebellion in Patagonia[103] in the early 1920s. Viñas also recalls his imprisonment during the Peronist period and with particular emphasis his relationship with Ernesto Che Guevara, and Salvador Allende amongst many other relevant figures of the period. On release, the film caused somewhat of a commotion. It was acclaimed and criticize by extremist elements on the right and particularly on the left where the Ismael Viñas portrayed on the documentary was perceived as a traitor to the Marxist principles he once so strongly embraced.[104][105] Directed by Montes-Bradley as Diana Hunter. Premiered at the Buenos Aires International Festival of Independent Cinema (BAFICI).

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 documentary presents Montes-Bradley's quest to find Nahuel Maciel, a journalist who fifteen years before fooled the press core by posing as a native from the Mapuche nation in Patagonia. Disguised as Chief Nahuel the impostor sold alleged interviews with Gabriel García Márquez, Umberto Eco, Mario Vargas Llosa and others to prestigious local newspapers such as El Cronista Comercial. Nahuel Maciel later published a book with a bogus interview with the Colombian Nobel Prize preceded by a foreword by Eduardo Galeano. Montes-Bradley finally finds Maciel some 300 miles from Buenos Aires in a frontier town called Gualeguaychú where Maciel was working close to the leadership of a group of environmentalists battling a paper-mill in the Argentina–Uruguay border. The film is witty, provocative and politically incorrect.[106] El gran simulador was initially banned from theatres in Argentina for its politics, and it was effectively released in Uruguay (across the border) with good B.O. results.[107][108] However, the film was shown as part of the Official Selection of the Buenos Aires International Independent Film Festival (BAFICI), 2007.[109] On the director's request the film did not participate "in competition" to avoid further turmoil.[110] Two years later, in April 2008, El gran simulador was finally released in Argentina by Editorial Perfil, the opposition media conglomerate own by Jorge Fontevecchia. HD | 75 min. 35 mm.

Crónicas Mexicas. The documentary follows on the footsteps of Hernán Cortés from the landing beaches of Veracruz on golf coast of Mexico, to Tenochtitlan, the ancient capital of the Aztec. Montes-Bradley (as Rita Clavel) teams-up with Martín Caparrós who becomes the omnipresent and omniscient 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.


  • 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 for a documentary (2002) and Cortázar without a beard (Random House Mondadori, 2004). (3').[111]
  • Freedom, (USA, 1986). Experimental work based on images captured by Montes-Bradley in 8 mm in and around Los Angeles, Chicago and Miami in which the filmmaker highlights the marginal precariousness of those who survive in the streets of the most prosperous nation. In this short film, the United States emerges as a society with the same conflicts of developing countries. (3').
  • The Unanimous Night, (USA, 2018). The public reappearance of Luis Harss arises from an interview with Tomás Eloy Martínez published in La Nación in 2008. Shortly thereafter, Montes-Bradley begins a documentary dialogue in Mercersburg. In The Unanimous Night, Harss refers to a visit by Jorge Luis Borges and the relationship between biographer and subject. (5').
  • Dialogue and Moisture, (USA, 2018). A short film by Montes-Bradley serves as a trigger with which the Luis Harss evokes the place of privilege that nostalgia occupies in his perpetual exile. (5')[112]
  • Leon Rozitchner's Window, (USA, 2008) Montes-Bradley maintained a personal and epistolary relationship with Leon Rozitcher that lasted over fifteen years. During all that time the philosopher, a disciple of Merleau-Ponty, objected to the invitation to talk in front of the camera. That window suddenly opened one day when the director came to visit. (17 ’).


Production still: Margaux Hemingway.
Production still: Stuart Whitman

El sekuestro (Feature Film). Miami Beach: Iruña Films. 1997. (The KidNapping) Satire-Farse.[113] El Sekuestro depicts an absurd revolutionary movement in Rio Hondo, a fictitious republic "lost somewhere in America," "outsider" Bruno (Tobias Meincke, from Germany) runs a classified ad for accomplices in a kidnapping. Joining the cause are a prostitute, Carmen (Sandra Ballesteros, from Argentina), an unemployed steel worker, Mario (Adam Black, of Spain), and a pretty boy, Luis (Luis Fernández, of Venezuela) all of whom want to change their own lives, but without the least interest in creating a socialist Utopia. They kidnap businessman Renato Cefalú (Lázaro Pérez, of Cuba) who doesn't have anywhere near the ransom the outlaws are demanding, and whose wife (Alex Pertile, of Italy) goes about seducing the chief of police in order to prevent him from tracking down her husband. An example of the movie's brand of cynical humor is the character, Mario. dreaming of what he'll do with the ransom money, he says, "First, a small repair shop. One or two apprentices, tools and a hole in the ground ... Then I get my hands on someone as poor as I used to be, I teach him the craft and, Long Live the F ..... Revolution! I'll never have to work again as long as the sucker does the job for me."[114][115] The critics hammered the film following its premiere at the Mar del Plata International Film Festival, most of the blame focus on the sound quality. The director will argue that the soundtrack of the copy shipped to the film festival was sabotaged during the development process by groups that perceived the film as a mockery of Montoneros and possibly other revolutionary or terrorists organizations. However, El SeKuestro remains a director's favorite and is frequently aired on television (Canal Volver - ArteAr). "El Sekuestro" intentionally written with "K" instead of "C" as it should, has been recently interpreted as an attempt to ridicule Kirchner. El SeKuestro was filmed in South Beach in 1995. On November 4 of the same year Montes-Bradley and leading actress Sandra Ballesteros, were married.[116] The film is a political farce taking on the events that so profoundly marked Argentine society during the nineteen seventies. It has been said that the plot is an excuse to mock the struggle of the guerrilla organizations that confronted the military regime led by General Jorge Rafael Videla.

Double Obsession (Feature Film). Boulder: Columbia Tri-Star. 1992. Thriller. Starring Margaux Hemingway, Beth Fisher, Scott Valentine, Jamie Horton, Maryam D'Abo and Frederic Forrest. Edited by John Venzon. TriStar Columbia and Reivaj Films, 1992. The film did well with foreign distribution, particularly in the straight to video and cable markets. Double Obsession was shot on 35mm at the University of Colorado in Boulder, a final transfer to video was later produced. Montes-Bradley hardly ever talks about this film written by himself in collaboration with Jeffrey Delman and Rick Marx. The film was initially referred to as Mirror Image.[117][118][119][120][121]

Smoothtalker (Feature Film). Boulder: Columbia Tri-Star. 1990. Thriller, Film Noire. USA, 1992. Produced by Smoothtalker Productions, Corp. Story: "The woman who 976 numbers offer the men who call a world of erotic fantasy. But they never know who lurks on the other side of the line". Starring Blair (Lisa) Weikgenant as Lisa Charles, Peter Crombie as Jack Perdue, Stuart Whitman as Lt. Gallagher, Sidney Lassick, Joe Guzaldo, Paul Raci as Peri and Burt Ward. Edited by Sandra Adair. Executive Producer Javier Gracia. Original score by Tony Roman; Production Design by Brian Densmore. US Release: June 18, 1992[122]

Music videos[edit]

Montes-Bradley directed music-videos at odds with the dominant trends at a time in which MTV was still in the experimental stage. Rumbera (trad. a woman who dances the rumba), is a song by Willy Chirino, (Sony Music, 1994. "Rumbera", the videoclip based on Willy Chirino's song is a film-extravaganza shot in the style of the neorealism with magic realism undertones. The seven-minute short was filmed in a single take, in the interior of a cabaret in South Beach. The Cameraman and Director of Photography was Scott Mumford. Rumbera opened the doors for other salsa music videos to be regularly programmed in MTV Latino, until then, exclusively reserved to Rock, Pop and ballads from South American and Spaniard bands and soloists. Rumbera, was filmed in Super 16mm and premiered in Havana, Cuba during the Festival Internacional del Nuevo Cine Latinoamericano, 1994. At the time, Willy Chirino just as Olga Guillot, and several other Cuban artists were blacklisted in their homeland. Another off-beat music-video by Montes-Bradley is Dale Pascual (Warner Music Group) by the Argentine pop-group "Los enanitos verdes". Dale Pascual was shot in 35mm in La Cava, 27 miles North of Buenos Aires. The featured track narrates the hardships of the impoverished immigrants in Argentina. La Cava provided the setting typical of neo-realism, a recurrent theme on Montes-Bradley's music videos, which emphasized the hard living conditions in Argentina, unemployment, and the recession. In an effort to exacerbate the excruciating living conditions of the children living in poverty, the director staged the crucifixion of a naked boy. The image, of a large wooden cross laying against the walls of a public school,= with the Argentine flag on a high mast in the background, was found to be offensive and consequently, the short-film was censored in several countries. "Dale Pascual was the last music video produced and directed by Montes-Bradley.[123]


Child of the Forest: The Story of Yona Bromberg. Heritage Film Project, 2014. The film documents the memories of Holocaust survivor Yona Bromberg who recalls being herded -along with the rest of the Jews in Rokitno- to the market where the occupying German forces open machine-gun fire killing almost everyone. Yona Bromberg, her mother and sister run for cover into the forest where they survived among other refugees until the arrival of the Soviet Army.[124] "Child of the Forest:" was filmed in Hallandale.

La Ventana de Leon Rozitchner. Independent, 2011.[125][126] Anecdotical documentary with philosopher León Rozitchner. Shot in Buenos Aires, Argentina.

American Manifesto Avantgarde short film premiered at BAFICI, 2005. Filmed in Denver,during the winter of 1993.

Tríptico Vertical, USA, 1986. Not much is known about the nearly fifteen minutes art-documentary made with the Madres de Plaza de Mayo. It was shot in Buenos Aires shortly after the return to democratic rule in 1983. Music by Julio Lacarra.


Habeas corpus: Peter Paul Weinschenk, alias Pablo Tabernero. Buenos Aires, Argentina: 34th Mar del Plata International Film Festival,Incaa. 2019. pp. 144 : photographs, 23 cm.Ideography, Biographical approach to Peter Paul Weinschenk, life and works of Pablo Tabernero, cinematographer of Prisioneros de la tierra directed by Mario Soffici.

Los dedos del huracán. Short story. Children Literature. Included on "De Ola en Ola 3" School Textbook for Third Grade. Group Macmillan. Editorial Estrada S.A., Buenos Aires, Argentina. Illustrated by Eugenia Nobati. p. 62-67[127]

La resurreción de Ocantos. Los Angeles, CA. 2012. pp. 62 Hard Cover : illustrations, 23 cm. ISBN 978-1449907402. Bio-bibliographical essay on Carlos María Ocantos.[128][129]

Cortázar sin barba. Madrid: Random House Mondadori. 2005. pp. 394 Hard Cover : illustrations, 23 cm. ISBN 84-8306-603-3. Biographical approach to Julio Cortázar, a fundamental name of the Latin American Boom, Montes-Bradley exposes the strategies used to build Cortázar:[130][131] the myth, simultaneously providing the arguments to challenge such myths while questioning Cortázar's political affiliations. A quick reference search on Google Scholar will show that "Cortázar sin Barba" has been widely cited by critics and scholars alike.[132][133][134] The first edition of Cortázar sin barba was published by Editorial Sudamericana, Argentina, 2004. A Third Edition (revised) was presented in Barcelona by Pesódromo 21 on September 30, 2014.[135][136][137][138][139][140][141]

Água No Terceiro Milenio. Brasilia Montevideo: Bianchi Editores Ediciones Pilar, Collección Señales de Vida. 2000. pp. 318, 21 cm. ISBN 9974-663-17-2. Bilingual Anthology of Short Stories. Selection of awarded works at the Literary Award "Agua no terceiro Milenio",[142] Brazil. Published in Portuguese and Spanish. Pilar Editors, Brasília, 2000. P. 142, 143, 144. Includes the short story "Das schwerste gewicht" previously published in "Ya se que todo es mentira" (1999), Editorial del Nuevo Extremo, Buenos Aires 1999.[143]

Osvaldo Soriano: Un retrato. Buenos Aires: Grupo Editorial Norma. 2000. pp. 171 Rustic. ISBN 9879334353. Italian edition by Sperling & Kupfer Editori, Milan, Italy, 2001, 164pp. Translated by Gina Maneri. Collection: Continente Desaparecido, directed and coordinated by Gianni Minà ISBN 88-200-3201-5. The book summons a series of interviews including: Ariel Dorfman, Eduardo Galeano, Ana María Shua, Martín Caparrós, Fernando Birri, Aida Bortnik, Roberto Cossa, Liliana Hecker, Federico Luppi, Hector Olivera, Nico Orengo, Dalmiro Saenz, Gianni Minà and others.[144] One of the recurrent themes thought the book is the idea of exile, Peronism, and the political turmoil in Argentina during the 1970s. The interviews were previously documented by the author on a documentary film on same subject.[145] There are also a few chapters, introduction and epilogue by Montes-Bradley with a significant number of footnotes and references. The book also includes correspondence between Osvaldo Soriano and Adolfo Bioy Casares, Julio Cortázar and Juan Gelman.[146][147][148]

Ya se que todo es mentira. Buenos Aires: Editorial del Nuevo Extremo. 1999. p. 200. ISBN 950-9681-85-7. trad. I know Its All Lies. Short Stories. Some of the short stories included in this compilation have been originally published in literary magazines. Foreword by Osvaldo Bayer. 199 pp. 23 cm.[149] Foreword by Osvaldo Bayer. Design by Oscar "Negro" Díaz.

Senxo, Selected Poems. Editorial Grupo Archivo de Comunicación, New York, 1984. Foreword by Armando Tejada Gómez. Out of print.


Montes-Bradley has contributed with the following publications: El País, Babelia,[150] Les cinemas de la Amerique Latine,[151] by the Association Rencontres Cinémas d'Amérique Latine de Toulouse France; La Jornada, México; the monthly review Latinoamérica e Tutto il Sud dell Mondo, Italy; and in Argentina with the literary magazine Esperando a Godot; the art-magazine Revista Lote, Venado Tuerto, Suplemento Radar published weekly by Página/12, El Amante de cine, "Diario Perfil", "Revista Ñ" Clarin,[152] Critica de Argentina; and La Nación. Montes-Bradley was a frequent collaborator with the literary blog "Nación Apache"

His interventions in the media can be classified as a. In-depth articles on subjects as diverse as the life of Dean Reed[153] in the Soviet Union, and the aftermath of the Battleship Potemkin;[154] b. Sudden and brief pieces on current affairs with a particular emphasis on domestic politics in Argentina. One of Montes-Bradley's bull's eyes of choice appears to be the National Institute of Cinematography (INCAA) a government institution repeatedly denounced for corruption, censorship and the discretionary handling of public resources. c. Letters to the Editor. In this, the most singular form of interventionism Montes-Bradley has written a considerable number of letters to the editors becoming a regular de facto columnist.[155][156]


Montes-Bradley's photography has been recognized by the National Council on Public Historywith the "Outstanding Public History Project Award" as part of the exhibit "The Mere Distinction of Colour" produced by James Madison's Montpelier. His work appeared in The Atlantic,[157] The Washington Post,[158] La Nacion,[159] The New York Times,[160]The Independent,[161] Deutsche Welle,[162] Diario Clarin[163] other newspapers[164] and magazines[165] as well as commemorative books such as "Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes",[166][167] and "Aventura Turnberry Jewish Center 20th Anniversary".[168] His portraits and filmed interviews with Research and Clinical Faculty are preserved at the Claude Moore Health Sciences Library, the University of Virginia under The Eduardo Montes-Bradley Photograph and Film Collection.[169]

Awards & Honors[edit]

  • A Soldier's Dream:

Best Documentary International Historical and Military Films Festival, Warsaw 2018 Best Feature Documentary Port Orchard Film Festival, Seattle, 2019

Outstanding Public History Project Award by the National Council on Public History (shared)

Best Documentary, “White, a Season in the Life of John Borden Evans”. Richmond International Film Festival.[170] Best Documentary Film 6th International Documentary Festival of Ierapetra Awards, 2017

Jefferson Trust Award Shared with Soledad Liendo, Brown College at Monroe Hill and the Curry School of Education[171]

Best Documentary Film 4th Annual Baltimore International Black Film Festival

Official Selection Rio International Film Festival, 2006 Official Selection Chicago Latino Film Festival, 2007 Official Selection Buenos Aires International Film Festival, BAFICI 2007 Official Selection Toronto Latino Film Festival, 2007

  • Tells of the Helmsman

Best Documentary Silver Cóndor Award, 2002[172]

Official Selection 12e Rencontres Cinémas d'Amerique Latine. Toulouse, Mars 2000.[76]

  • Soriano

Official Selection It's All True, International Documentary Film Festival. Rio de Janeiro, April, 1999.[173]

  • Other Nominations

Silver Cóndor Nominated.[78]

Appearances in other media[edit]

  • Margaux Hemingway Bio-documentary on Margaux Hemingway produced for the series E! True Hollywood Story by E! Entertainment Television.[174] USA, 1996.
  • Jorge Giannoni. NN, ése soy yo (NN, The One In The Picture Is Me). Documentary film by: Gabriela Jaime on Jorge Giannoni[175] Argentina, 2000.[176]
  • Derrumbe. Guebel, Daniel (Fiction). Random House Mondadori, 2012. Eduardo Montes-Bradley is EMB, a fictional character.
  • Mis escritores muertos. Guebel, Daniel (Fiction). Random House Mondadori, 2012. Eduardo Montes-Bradley is EMB, a fictional character.[177]
  • Zenitram. A film by Luis Barone. Montes-Bradley plays the part of a physician in a surreal context. Argentina, 2010.[178]
  • Man maste ju leva. Actor. Directed by Margareta Vinterheden. Sweden, 1978.


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  3. Lindner, Franco Cooke: El heredero maldito de Perón: la biografía. Editorial Sudamericana, 2006
  4. Arnold, Jorge Revista de critica literaria latinoamericana.. Latinoamericana Editores.
  5. Nagy-Zekmi, Silvia Moros en la costa: Orientalismo en America Latina. Iberoamericana.p. 192.
  6. Sebreli, Juan JoseEl tiempo de una vida: Autobiografía. Editorial Sudamericana, 2005
  7. "Reviews on Latin American and Chinese Art by Eduardo Montes-Bradley" Art and Wealth [22]
  8. Bustos, Graciela Audiovisuales de combate: Acerca del Videoactivismo Contemporáneo. Published by Centro Cult. de España, Bs.As., 2006. p. 83
  9. Kriger, Clara / Spadaccini, Silvana Páginas de cine. Archivo General de la Nación, República Argentina, 2003. p. 103
  10. Tiempo de hoy. Published by Ediciones Tiempo, S.A., Spain, 2005. p. 84
  11. Mazzeo, Miguel / Ramb, Ana María Osvaldo Bayer: Miradas sobre su obra. C.C.C., ED. del Inst. Movilizador de Fondos Coo., 2003. p. 96
  12. Neifert, Agustin, Del papel al celuloide: Escritores argentinos en el cine. La Crujía Ediciones, 2003. pp. 48, 49, 54.
  13. Di Benedetto, Antonio and Lebenglik, Fabian El Pentágono: Novela en forma de cuentos. Adriana Hidalgo Editores, 2005. p. 13
  14. Aguilar, Gonzalo Moisés Otros mundos: Ensayo sobre el nuevo cine argentino. Santiago Arcos Editor, 2006. pp. 228, 130, 231.
  15. Fernandez Naval, F.X. Respirar por el idioma: (los Gallegos y Julio Cortázar). Contributor Emilia Veiga Torre. Editorial Corregidor, 2007. pp. 14, 38, 192
  16. Versants. By Collegium Romanicum. Published by L'age d'homme, 2001. 262, 266.
  17. Nelson Bayardo and José Pedro Rilla Carlos Gardel: A la luz de la historia. Editorial Aguilar, 2000. p. 117
  18. María Gabriela Barbara, Cittadini. Vindicaciones del infinito.Fundación Internacional Jorge Luis Borges, 2003. p. 38
  19. Neifert, Agustín. Del papel al celuloide Edition: illustrated. La Crujía Ediciones, 2003
  20. Mesa Gancedo, Daniel Avatares del personaje artificial en la novela Argentina de los 90. America Latina Hy, 30, 2002, Ediciones Universidad de Salamanca. p. 168.
  21. Neyret, Juan Pablo. Para textos bastan y sobran. La conformación del espacio paratextual en Triste, solitario y final, de Osvaldo Soriano. Universidad Nacional de Mar del Plata.
  22. Sainz Borgo, Karina. "Julio Cortázar: franquista en Buenos Aires, marxista en Estados Unidos y burgués en Cuba" [23]
  23. Montes-Bradley, Eduardo. "Notes On Myself" [24]
  24. Les cinemas de la Amerique Latine
  25. Alexander Street Press
  26. Greenacord [25][permanent dead link]
  27. Thomas Osgood Bradley Foundation TOBF
  28. Mar del Plata Film Festival [26]