Lita Stantic

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Lita Stantic

Élida Stantic (born April 7, 1942), and more commonly known and credited as Lita Stantic, is an Argentine cinema producer, screenplay writer, and director.[1]

Stantic is one of the most important producers working in the "New Argentine Cinema," responsible for the debut films of some of the most critically well regarded new Argentinian filmmakers such as Lucrecia Martel, Pablo Trapero, and Israel Adrián Caetano.


She has been working in the Argentine cinema since she was hired as an assistant director for the film Diario de campamento (1965).

Stantic then began making short films in the mid 1960s, but then changed her focus to advertising.

She remained active in Argentine cinema via the "Cine Liberacion," an underground production and distribution collective that secretly showed films that would have otherwise been banned in Argentina by the military government.

During the politically tumultuous 1970s in Argentina, Stantic worked on over a dozen films including Alejandro Doria's La isla (1978), which was the first Argentine film to be a box-office hit during the dictatorship.[2]

During the 1980s with Maria Luisa Bemberg both established GEA Cinematografica, a production company. Then, later, Lita Stantic Productions.

When the "New Argentine Cinema" began in the late 1990s, she has produced films which have been critically widely acclaimed. Films such as A Red Bear, La Ciénaga, Bolivia, The Holy Girl and others.

Producer filmography (partial)[edit]

Producer television (partial)[edit]

  • Sol de otoño (1996) a.k.a. Autumn Sun
  • Historias de vidas, Encarnación Ezcurra (1998)
  • Historias de vidas, Silvina Ocampo (1998)




  1. ^ Lita Stantic at the Internet Movie Database.
  2. ^ Brennan, Sandra. New York Times, biography of Stantic.

External links[edit]