Alberto Fischerman (1937–1995) was an Argentine film director and advertising filmmaker. Much of his professional training and career took place in the advertising industry, where he worked as a director.
In the late 1960s, he became a member of the Grupo de los Cinco (Group of Five), alongside Ricardo Becher, Néstor Paternostro, Raúl de la Torre, and Juan José Stagnaro, filmmakers united by a desire to renew the forms and modes of production of Argentine cinema.
He made his feature-film debut...
Alberto Fischerman (1937–1995) was an Argentine film director and advertising filmmaker. Much of his professional training and career took place in the advertising industry, where he worked as a director.
In the late 1960s, he became a member of the Grupo de los Cinco (Group of Five), alongside Ricardo Becher, Néstor Paternostro, Raúl de la Torre, and Juan José Stagnaro, filmmakers united by a desire to renew the forms and modes of production of Argentine cinema.
He made his feature-film debut with *The Players vs. Ángeles Caídos* (1969), which became the foremost representative of the aesthetic avant-garde in Argentine cinema of the period. Throughout his career, he directed films of widely varying styles, alternating between works of greater formal radicalism and more narrative-oriented productions, while continuing his work in advertising and television.
Alberto Fischerman (1937–1995) was an Argentine film director and advertising filmmaker. Much of his professional training and career took place in the advertising industry, where he worked as a director.
In the late 1960s, he became a member of the Grupo de los Cinco (Group of Five), alongside Ricardo Becher, Néstor Paternostro, Raúl de la Torre, and Juan José Stagnaro, filmmakers united by a desire to renew the forms and modes of production of Argentine cinema.
He made his feature-film debut with *The Players vs. Ángeles Caídos* (1969), which became the foremost representative of the aesthetic avant-garde in Argentine cinema of the period. Throughout his career, he directed films of widely varying styles, alternating between works of greater formal radicalism and more narrative-oriented productions, while continuing his work in advertising and television.
