Class Camouflage

Alan Martín Segal


Genre: Fiction
Length: 80’

Project status:Script
Budget: 325 000 €
Acquired budget: 50 000 €
Shooting countries: Argentina

Buenos Aires, 1968. The boundaries between everyday life and art are blurry. While increasing political and institutional violence, artists try to transform their ideas into realities. The dictatorship plans to stay in power for a century with the self-assigned mission of “morally healing” Argentina’s spirit.

Among broken artists, emerging pop stars, poets with metallic voices, and collectors running shady deals, Prat, a young and morally ambiguous upstart, is a new face in the art scene. Is he a service provider, an artist, or just another outcast? He meets Omar, an artist he admires, and Maria, a mystical anarchist hiding her oligarch lineage.

The trio wanders through nightclubs, spontaneous fashion shows, psycho-magical group therapy sessions, and dinners in the rooms of bitter political figures. The backdrop is a collapse that seems imminent.

Class Camouflage is an emotional portrait of Buenos Aires and the shadows of its wounds that are still projected to this day.

Note of intention

We are living in intricate times. Consequently, I propose a period piece; the contradiction is intentional. Putting the present and the past in perspective is necessary; it is like exploring an alien wound to understand our traumas as if the autopsy of a third one could offer us some tentative escape. The decade of the 60s can be read as a parable of how transformative impulses were gradually silenced, leading to the neoliberal turn (both economically and culturally).

Prat, the main character, embodies some sort of Tom Ripley figure. Even though I’m fully aware of Ripley’s corruption, I always felt sympathy toward him. This empathy is only explained by how Ripley’s behavior perfectly echoes some of the post-colonial identity diagrams in America’s urban centers. Mortally wounded by Eurocentrism, one of his distinctive traits is concealing his class and cultural origins. Unable to reveal himself to this power dynamic, he becomes a counterfeit of the other he places above himself. That mirror is a fraudulent idea of a blurry national past, an heir reverence for the oppressors that translates into a mimetic attitude towards their culture.

I am interested in reflecting through Prat on post-colonial identity, addressing this original trauma of cultural imposition.


Alan Martín Segal


Via Negativa / 2022 / 63’
Incomplete Disappearance / 2020 / 15’
Deviant Chain / 2019 / 45’
Key, washer, coin / 2018 / 16’
An interrupted investigation of R / 2017 / 14’


Production : Filmy Wiktora (Argentina)
Producers : Gastón Solnicki, Alan Martín Segal

Selective filmography

A Little Love Package / Gastón Solnicki / 2022 / 81’

Via Negativa / Alan Martín Segal / 2022 / 63’

Incomplete Disappearance / Alan Martín Segal / 2020, 15’

Introduzione all’Oscuro / Gastón Solnicki / 2018 / 71’

Key, washer, coin / Alan Martín Segal / 2018 / 15’

Kékszakállú / Gastón Solnicki / 2016 / 72’

Papirosen / Gastón Solnicki / 2011 / 74’

Süden / Gastón Solnicki / 2008 / 66’

Production : Maravilla Cine (Argentina)
Producers : Paula Zyngierman, Leandro Listorti

Wanderer / Adriana Lestido / 2022 / 78’

Herbaria / Leandro Listorti / 2022 / 83’

Loving Martha / Daniela López / 2022 / 75’

That Weekend / Mara Pescio / 2021 / 67’

Borom Taxi / Andrés Guerberoff / 2021 / 62’

Husek / Daniela Seggiaro / 2021 / 89’

Map of Latin American Dreams / Martín Weber / 2020 / 91’

The Faculties / Eloísa Solás / 2019 / 78’

The Endless Film / Leandro Listorti / 2018 / 83’

Marilyn / Martín Rodríguez Redondo / 2018 / 80’

Irati Gorostidi Agirretxe

Julien Ticot-Guillet

Jazmín López

Beatrice Gibson

Ann Oren

Salomé Lamas

Gregor Božič