A piece full of love for literature

It is a work that focuses on the intangible connections we have with books and their authors. “The possibility of love and gratitude towards those authors who shape us, who helped us think, who accompanied us in grief, who helped us put into words what we cannot express and what we do not feel alone, in short,” says Agustina Muñoz about “These Little Books That Remain”, a work by Cynthia Edul, which opens this year today, December 14th, at 8:00 p.m. at the Arthaus Central (Bartolomé Miter 434) is listed. Mónica Raiola and Ignacio Sánchez Mestre complete the cast of this 75-minute play, which began this year with very good audiences and will again be part of the program of the active center of contemporary creation in the heart of the city of Buenos Aires in 2026.

Muñoz is 41 years old and is a writer, director and performer. He works in the areas of theater, film and performance. With her play “Las mujeres entre los libros” she won the first prize for dramaturgy from the National Theater Institute and with her play “Neón” she won the Innovative Playwriting Award from the Escena Contemporánea Festival in Madrid. His works traveled through Holland, Spain, Ireland, Finland and Cuba. She was also voted Best Actress in the International Competition of the Buenos Aires International Film Festival (BAFICI) for her work in “Viola” by Matías Piñeiro.

Now he is in the middle of filming Gordon, a Netflix series directed by Pablo Trapero and Pablo Fendrik, based on the book by journalist Marcelo Larraquy and dedicated to a sinister character who was part of Triple A and took an active part in the illegal repression during the last military dictatorship. In March 2026 he will take part in another film adaptation, that of Jealous White Men, a new feature film by Ivan Granovsky that will be shot in several countries (it is a co-production between Argentina, Portugal, Brazil, Italy and France with an international cast).

In Gordon, Muñoz plays the role of the protagonist’s wife, played by Rodrigo de la Serna. “He’s spectacular to work with,” she notes, “it’s surprising what he does to compose the character, how he changes depending on the demands of the role on him. He is someone with a gift, with a complete understanding of each scene and the rhythm it requires. He mixes some of the popular vocal ranges at his disposal with a compositional intelligence that works on other levels. And he is very generous as a partner.”

Ariel, on the other hand, a film by Spanish director Lois Patiño, shot in the Azores and screened at the recent edition of the Gijón International Film Festival, where he starred, will soon be released in cinemas in Spain. Important again in this fiction is a character that Muñoz has encountered frequently throughout his career because he has participated in various of the director’s projects related to his work: William Shakespeare.

“I made Lois and Matías, a beautiful medium-length film called Sycorax,” he says. “They both work on quite free approaches to Shakespeare’s works; they are very personal translations. I had an acting teacher who said that only the English know how to say Shakespeare correctly. That he is an author who has a very special voice, a way of saying things and works with the body.” Fate is written or we make it ourselves. The characters are trapped in a fictional plot and the film asks whether they can escape this script or not.

A crisis scenario

FOR THE

In a difficult context for artistic disciplines, the Paraíso Club is a kind of oasis in Buenos Aires. Agustina Muñoz is one of the members of this project, born during the worrying period of the pandemic, which also includes other Argentine artists and cultural managers: Cynthia Edul, Ignacio Sánchez Mestre, Aliana Alvarez Pacheco, Ariel Farace, Bárbara Hang, Giuliana Migale Rocco, Lorena Vega, María La Greca, Pilar Gamboa, Romina Paula and Silvia Gómez Giusto. It is known that the government of Javier Milei has shown an unprecedented hostility towards cinema and theater, which goes far beyond mere discursive aggression: it has also decided to withdraw funding from organizations dedicated to promoting these activities, such as INCAA and INT. The creation of this space, which operates through a very accessible membership system, is a concrete response to this situation, an initiative that goes beyond passive complaining. “The first year of Milei’s government was very hard on an emotional level,” claims Muñoz, “we neither understood what was happening nor did we know how to react. It makes a lot of sense again to do something for other people that involves using your body and coming into contact with others.