Malu Boruchowicz Joins Mama Húngara, Bringing Her Poetic Vision to a Global Stage

With a romantic, cinematic eye and a strong sense of authorship, Malu Boruchowicz is quickly becoming one of Argentina’s most exciting young voices. A director, cinematographer, and photographer, she builds sensitive, poetic visual narratives driven by light, subtle humor, everyday life, and deeply human vulnerability, the kind that reveals what matters without spelling it out.

A graduate of Universidad del Cine (FUC) and also trained at La Fémis in Paris, Malu has crafted standout work across film, music videos, fashion films, and commercials. Her approach is known for making the most out of simple, tactile visual tools, always in service of the story.

In 2022, she wrote and directed Instrucciones para un Saludo (“Instructions for a Greeting”), a short film that premiered the following year in the Official Competition at BAFICI. That same year, she was awarded the Golden Diente by the Argentine Creative Circle as New Talent, along with a Silver and Bronze Diente for her commercial Búsquedas por Amor (Love Searches) for Alma Mora. She also picked up Best Music Video Direction for Te Encontré by Julieta Venegas, which she co-directed with Lola and Anita Piñero. In 2024, she was selected for Berlinale Talents and joined the Film Program at Universidad Torcuato Di Tella.

In this conversation with Cris Gee, Malu reflects on her creative roots, her visual style, and what this new phase with Mama Húngara means for her growing international reach.

Alma Mora, “Búsqueda por Amor”

Cris Gee > What sparked your passion for filmmaking and photography? And how did that early connection to visual storytelling shape your eye as a director?

Malu > I honestly can’t say exactly where the passion came from, it’s just always been there. As a kid, I’d get pulled out of class to film or shoot school events. And recently, while digging through old footage for a documentary project, I found a video of my dad giving me a camera for the first time. I was four. Watching that clip really hit me. I realised I’ve basically been seeing the world through a lens ever since.

I grew up in a family that’s deeply tied to the arts, film, theater, everything. My grandparents co-founded Universidad del Cine with Manuel Antín, in the same building where they used to run a theater and cultural space called La Gran Aldea. That environment really shaped how I observe the world. For me, directing is about choosing what to show, how to frame a slice of everyday life and turn it into something that speaks to what it means to be human.

Cris Gee > Your work often feels intimate and emotionally grounded, there’s a clear focus on light, framing, objects and subtle gestures. How would you describe your visual language today, and how is it evolving?

Malu > I’m drawn to precision, telling a story with minimal elements but maximum emotional weight. My visual language comes from observation and leans heavily on details: a glance, a texture, a moment of stillness. I want every shot to feel intentional, with light and framing that serve the story, as if they were extensions of the characters themselves.

Right now, I feel like my voice is becoming more defined, more refined. The challenge is to keep exploring that voice across different formats and production scales.

CORTOZ | CHEVROLET, “Lo mejor de dos mundos”

Cris Gee > In your Chevrolet spot, you flipped the typical car ad formula; no speed, no sweeping landscapes. Instead, you leaned into stillness, male vulnerability and a slow-burn emotional reveal. How did you get the client and agency on board with such a different approach?

Malu > Whenever I’m given the space to tell a short story, I focus on the essentials, on what’s real and emotionally resonant. In this case, I intentionally stepped away from the usual car commercial tropes, epic drives, wide landscapes, high energy. I wanted to go inward.

I saw the car not as the protagonist, but as a kind of emotional space. A place we go to think, to cry, to sing, to talk to someone important. A little refuge. The story is about a man dealing with a breakup. He’s emotionally stuck, he literally can’t start the car. And it’s only through a friend’s voice that he’s able to move, both literally and symbolically.
To me, that’s a powerful message for a brand: connecting with real human experiences without pushing the product too hard. Showing a car not just as a machine, but as part of real life, with all its complexities.

Cris Gee > There’s something very cinematic in how you approach everything, from ads to music videos to fashion films. How do you balance narrative and visual aesthetics across such different formats?

Malu > For me, narrative and aesthetic are totally intertwined, they need each other. I always start with a clear internal logic that helps me create an atmosphere with personality. Sometimes, the story is embedded in a rhythm, a look or a camera move. It becomes cinematic when every element has intention.

Whatever the format, I try to make each image stand on its own without relying on over-explanation. That balance, between story and style, is what excites me most and I think it’s what gives brands a chance to really stand out.

Tini Stoessel, “El Cielo”

Cris Gee > One of your recent projects was with Tini Stoessel. What was it like directing someone so well-known?

Malu > Working with Tini was a fun challenge. The goal was to bring something new to her world without losing who she is. We worked really collaboratively, aiming for a more grown-up, stylized image that still felt honest and authentic. What I loved was finding that middle ground between what she represents and what we could elevate through direction and aesthetic.

The end result was something thoughtful and distinctive, something that reflected her evolution as an artist.

Cris Gee > There’s a subtle humor in some of your work, almost like a poetic wink. Where does that tone come from?

Malu > Humor shows up when things fall slightly out of place, when logic gets gently bent. I’m drawn to that shift. It can come from a character, a prop or even the pacing of an edit. It’s not laugh-out-loud funny, it’s more of a crack where the absurd, the awkward, the real sneaks in.

I think humor has a huge power to connect without trying too hard. It humanises the story and gives the audience a little breathing space, a moment of complicity.

Pedidos Ya | Soltá el carrito

Cris Gee > What do you look for in a production company, and what have you found in Mama Hungara as a creative partner?

Malu > I look for a space that can really amplify the uniqueness of each project. With Mama Hungara, I found a team that totally aligns with my approach: they bring sensitivity, creative strength and an openness to explore less obvious paths. There's a clear visual commitment, but also a deep respect for narrative and the collaborative process. I feel supported to grow, take risks and build work with a strong identity.

Cris Gee > What trends or creative movements are inspiring you right now? And how do you want to explore them in your upcoming work?

Malu > I’m feeling inspired by a return to the essential, slower storytelling, narratives that observe instead of explaining. I think brands today have a real opportunity to connect through authenticity and sensory experience.

I’m also really into cross-pollination, mixing fashion, art, documentary, comedy, sports… those hybrids can create fresh, visually rich pieces. Fashion films especially excite me because they let you blend cinematic language with commercial purpose in a way that feels elegant, emotional and current. I definitely want to keep exploring those edges.