<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["en", "en"].<end_of_turn>
<start_of_turn>user
Describe part of the history of Argentine cinema.<end_of_turn>
<start_of_turn>model
The creation of the National Cinema Institute (1957), then that of the Mar del Plata festival (1958) gave the impetus to the “new cinema” version of Argentina. He set a precedent, following the example of Leopoldo Torre Nilsson (1924-1978), Fernando Ayala (1920-1997), Manuel Antín (born in 1926), then Héctor Olivera (born in 1931). Other filmmakers moved abroad, such as Hugo Santiago ([born in 1939] Invasion, 1969), Edgardo Cozarinsky ([born in 1939] One Man's War, 1981) or Eduardo De Gregorio ([1942-2012] Lost Bodies, 1989), who choose France. Political cinema inspires Fernando Solanas (Sons of Fierro, 1977) in a very personal way. The breath of renewal will come from films that explore original paths, such as Official History (L. Puenzo, 1985), Buenos Aires viceversa (A. Agresti, 1996), Burnt Lives (M. Pineyro, 2000).<end_of_turn><eos>