20世纪90年代中期,新阿根廷电影登临舞台。二十多年之后,以回溯的目光来看,人们难以赞同所谓新阿根廷电影的代表作分享着近似的美学立场,其共性更多地体现在这些作品所共有的低成本、长周期的拍摄模式以及与此前阿根廷民族电影美学的差异之上。本文以《晕眩的瞬间》《披萨、啤酒、香烟》《西尔维娅·普列托》等影片为例,分析新阿根廷电影给当代阿根廷带来的富于洞见的文化表达。 In the mid-1990s, the new Argentinean movie came to the stage. More than two decades later, it is difficult to agree with the so-called representative works of the so-called New Argentinas to share a similar aesthetic standpoint. The commonalities are more reflected in the low-cost, long-period shooting modes that these works share, and And Argentina before the difference between the national film aesthetics. This article takes “Dizziness”, “Pizza, Beer, Cigarettes” and “Silvia Priory” as examples to analyze the insightful cultural expression New Argentine films bring to contemporary Argentina.