Hear Me with Your Eyes  examines the intrusion of the voice into the cinematographic gaze and the intersections (and ruptures) of the sound-image in Argentine women filmmakers from a feminist perspective. In different ways, María Luisa Bemberg, Lita Stantic, Lucrecia Martel, Albertina Carri, María Victoria Menis, Lucía Puenzo, Sabrina Farji, Paula de Luque, Anahí Berneri, Sandra Gugliotta, and Gabriela David explore the visual realm through the continuities, intrusions, irrelevancies, harmonies, and desynchronizations of the voice. Or, instead, they explore different voices and their modulations, including whispers, screams, singing, echoes, breathing, resonance, sighs, and the transcendent voice, the narrative voice, the silenced voice, the articulated and unarticulated voice, and that which is none of the above. These voices suggest another relationship with the audiovisual realm, one that seems to include a closeness that erases, if only intermittently, the unalterable relationship between subject and object that characterizes the patriarchal visual regime. "Grounded in feminist, philosophical and cinematographic theory, this work unites the gaze and the voice as it studies the works of María Luisa Bemberg, Lucrecia Martel and Albertina Carri in a historical context. These renowned filmakers’ works also serve as a point of departure for discussion of other directors’ films in which politics and aesthetics protest against their times as well as ours. Anchored in discourse analysis, the crossover between the acoustic and the visual is effective and convincing. ... An eloquent text whose conceptual clarity and historical contextualization should make it a classic in this genre.” ― The Selection Committee for the Casa de las Américas Prize, 2018 Grounded in feminist, philosophical and cinematographic theory, this work unites the gaze and the voice as it studies the works of Maria Luisa Bemberg, Lucrecia Martel and Albertina Carri in a historical context. These renowned filmakers' works also serve as a point of departure for discussion of other directors' films in which politics and aesthetics protest against their times as well as ours. Anchored in discourse analysis, the crossover between the acoustic and the visual is effective and convincing. ... An eloquent text whose conceptual clarity and historical contextualization should make it a classic in this genre.--The Selection Committee for the Casa de las Americas Prize, 2018 Ana Forcinito is a Professor of Latin American literature and culture at the University of Minnesota. She is the author of  Memorias y nomadías: géneros y cuerpos en los márgenes del posfeminismo  (2004), Los umbrales del testimonio: entre las narraciones de los sobrevivientes y las marcas de la posdictadura  (2012),  Oyeme con los ojos: Cine, mujeres, voces, visiones  (2018) and  Intermittences: Memory, Justice and the Poetics of the Visible  (2018). She has edited the several volumes and books on feminism, human rights and testimonial practices.