"Je suis enfin à Buenos Aires, pour un séminaire sur le cinéma. Ivre de joie, je découvre la ville que m'avaient tant décrite les grands frères argentins, du temps des Grandes Manœuvres et du Palace. Mais, la ville est aussi devenue un laboratoire où s'expérimentent toutes les révolutions, de la libération sexuelle à celle de l'art. J'essaie d'être à la hauteur de ce changement à vue du monde qui éclate sous mes yeux. Je me noie, j'abandonne, pour nous, ceux d'"après la révolution", c'est sans doute déjà trop tard ..."
(Vincent Dieutre)

Después de la revolución made four years after Bologna Centrale, extends it through its wandering approach to the city, from which emerge buried moments of individual memory and collective history, while at the same time contradicting it. The filmmaker is not returning to Buenos Aires, he’s staying there for the first time. And yet, it’s a city that he recognises immediately, feeling “at home” there, as evoked so many times in the late 1970s by Argentinians in exile, central players in a Parisian cultural life in which the young Dieutre was a stakeholder. The perfect city is just an optical aberration, the faded and recurring image of an elegant old man executing two tango steps, which compete with and erase those of other Argentinian bodies. “Shaky” sexual cho- reographies, filmed – camera in hand – by the filmmaker and his lover Hugo, respond to the geographical exploration via static shots of a city described by the voiceover as “in full swing”. A diary of disenchantment and revelation, Después de la revolución rings out like an adieu to the fantasies of the past, while fulfilling a promise: the unfailing welcome reserved for the poetic powers of the present.
(Emmanuel Chicon)