Cine Cosmos
A restored Buenos Aires cinema known for its long association with alternative and Eastern European film.
Last updated August 25, 2026
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Overview
Cine Cosmos is a historic cinema on Avenida Corrientes in Buenos Aires, Argentina. The venue occupies an Art Deco building originally created for the Cine-Teatro Cataluña, which opened in 1929. Designed by Belgian architect Albert Bourdon and constructed by engineer Jacques América's company, the building later became associated with businessman Argentino Vainikoff and his Soviet-film distribution company, Artkino Pictures. Under Vainikoff's management, the cinema developed a distinctive cultural identity centered on films from the Soviet Union, Czechoslovakia, Poland, and other Eastern European countries. The cinema adopted the name Cine Cosmos 70 when it reopened on 30 August 1966, a reference to its capacity to show films in the 70 mm format. Its inaugural presentation was the French film Dominique, directed by Yvan Noé, but its most important early success under the new identity was the Czechoslovak drama The Shop on Main Street. That film ran for twenty-three consecutive weeks and helped establish Cine Cosmos as a specialist venue rather than a conventional commercial theater. Subsequent programming included acclaimed Eastern European works such as The Cranes Are Flying, Closely Watched Trains, Loves of a Blonde, Lemonade Joe, and The Cold Summer of 1953, together with special screenings of Soviet classics including War and Peace and Battleship Potemkin. Because of its programming during the Cold War, Cine Cosmos was sometimes associated by Argentine authorities and commentators with the Communist Party. Vainikoff rejected that characterization. The venue's history was also shaped by Argentina's changing censorship environment. Soviet films had been prohibited in the country between 1947 and 1951 under a decree issued by Raúl Apold, then a senior press official under President Juan Domingo Perón. The ban ended after lobbying by Vainikoff and presidential secretary Martín Carlos Martínez, who persuaded Perón to reverse the policy. Cine Cosmos closed near the end of 1987 and the premises subsequently operated as the Halley nightclub. The cinema returned on 26 November 1997, when the then 87-year-old Vainikoff restored its operation. After his death in 2003, his children Luis and Alba managed the venue. They sold the property in 2006, after which proposals to convert the building into a hotel were considered but did not materialize. A major institutional transition followed in 2009 and 2010. University of Buenos Aires rector Rubén Hallú announced in December 2009 that the university would acquire the cinema for US$2.5 million. The building is adjacent to the university's Centro Cultural Ricardo Rojas, making the venue a natural addition to the university's cultural infrastructure. After the acquisition and restoration process, the cinema reopened in November 2010 as Cine Cosmos UBA. In this form it functions as a university-linked cultural cinema, preserving the site's historic identity while supporting independent and art-house film exhibition. It has also served as a venue for the Buenos Aires International Festival of Independent Cinema, commonly known as BAFICI, in 2011, 2012, and 2022.
History
The building now known as Cine Cosmos began as the Cine-Teatro Cataluña, an Art Deco cinema-theater inaugurated in Buenos Aires in 1929. Its design is attributed to Belgian architect Albert Bourdon, while engineer Jacques América and his construction company carried out the building work. The original property was owned by Mrs. Fabrus and Mrs. Montardit. The site's later history became closely connected to Argentino Vainikoff, a businessman who acquired the cinema in 1955. Vainikoff also owned Artkino Pictures, a Soviet-film distribution company established in 1937. His involvement gave the venue a specialized programming profile and made it an important point of access to Soviet and Eastern European cinema in Argentina. That role had particular significance because Soviet films had been prohibited in Argentina from 1947 to 1951 through a decree associated with Raúl Apold, the press chief of President Juan Domingo Perón. Vainikoff campaigned against the restriction with the assistance of presidential secretary Martín Carlos Martínez. Their efforts contributed to Perón's decision to end the ban in 1951. On 30 August 1966, the cinema reopened under the name Cine Cosmos 70. The name referred to 70 mm film presentation. The first film shown was Dominique, a French production directed by Yvan Noé. The venue's first major success in this period was The Shop on Main Street, a Czechoslovak film directed by Ján Kadár and Elmar Klos. It remained on the program for twenty-three consecutive weeks. Cine Cosmos subsequently became known for films from across Eastern Europe, including The Cranes Are Flying, Closely Watched Trains, Loves of a Blonde, Lemonade Joe, and The Cold Summer of 1953. The cinema also organized special cycles devoted to Soviet classics such as War and Peace and Battleship Potemkin. The venue's Cold War programming led the Argentine government to associate it with the Communist Party. Vainikoff consistently denied that the cinema was politically controlled or operated as a Communist outlet. Regardless of the political dispute, the venue acquired a durable reputation as a specialist cinema for films that were not widely available through mainstream commercial exhibition. Cine Cosmos closed for the first time near the end of 1987. The premises were then used by the Halley nightclub until 26 November 1997, when the cinema reopened under Vainikoff's direction. He was 87 at the time of that reopening. Following his death in 2003, his children Luis and Alba took responsibility for the operation. The family sold the property in 2006. A possible hotel conversion was discussed, but no such redevelopment was completed. In December 2009, Rubén Hallú, rector of the University of Buenos Aires, announced that the university would purchase the cinema for US$2.5 million. The building's location beside the Centro Cultural Ricardo Rojas, a university cultural center, supported the acquisition's cultural rationale. The transaction and subsequent preparation culminated in a reopening in November 2010 under the name Cine Cosmos UBA. Under university ownership, Cine Cosmos has continued as a cultural and independent-film venue rather than returning to a purely commercial multiplex model. It participated in the Buenos Aires International Festival of Independent Cinema in 2011 and 2012 and again in 2022. Its institutional role combines preservation of a historically significant cinema building with film exhibition, retrospectives, and participation in Buenos Aires's independent-film ecosystem.
- 2022
Returns as a BAFICI venue
[1]The university cinema again hosts screenings connected with BAFICI.
- 2011
First listed BAFICI participation
[1]Cine Cosmos UBA serves as one of the venues for the Buenos Aires International Festival of Independent Cinema.
- 2010
Reopens as Cine Cosmos UBA
[1]The cinema reopens in November under University of Buenos Aires ownership and operation.
- 2009
University acquisition announced
[1]The University of Buenos Aires announces plans to acquire Cine Cosmos for US$2.5 million.
- 2006
Property is sold
[1]Luis and Alba Vainikoff sell the property after managing it following their father's death. A proposed hotel conversion does not proceed.
- 1997
Cinema reopens after the Halley nightclub period
[1]The cinema resumes operation on 26 November under the direction of the 87-year-old Argentino Vainikoff.
- 1987
Cinema closes
[1]Cine Cosmos closes near the end of the year, beginning a period in which the premises are used for another purpose.
- 1966
Reopening as Cine Cosmos 70
[1]The venue reopens on 30 August with a name referencing 70 mm film presentation.
- 1955
Argentino Vainikoff acquires the cinema
[1]Businessman and Artkino Pictures owner Argentino Vainikoff purchases the venue.
- 1951
Argentina's ban on Soviet films ends
[1]A restriction on Soviet films that had operated since 1947 is lifted after lobbying involving Argentino Vainikoff and Martín Carlos Martínez.
Products and positioning
A historic, university-operated cultural cinema focused on independent, art-house, classic, and internationally oriented film programming, with a particularly strong historical association with Soviet and Eastern European cinema.
Cinema exhibition · 1929
Cine Cosmos film screenings
The venue's core offering is public film exhibition. Historically, its program has emphasized films outside mainstream commercial circulation, especially Soviet, Eastern European, independent, and art-house works. Under University of Buenos Aires operation, the cinema continues this cultural orientation through regular screenings and special presentations.
Film retrospectives · 1966
Soviet and Eastern European film cycles
Cine Cosmos became particularly identified with screenings of Soviet and Eastern European cinema. Its historical programming included films such as The Cranes Are Flying, Closely Watched Trains, Loves of a Blonde, Lemonade Joe, and The Cold Summer of 1953, as well as special cycles devoted to works including War and Peace and Battleship Potemkin.
Film festival venue · 2011
BAFICI screenings
Cine Cosmos UBA has operated as a venue for the Buenos Aires International Festival of Independent Cinema. Its documented participation includes the 2011, 2012, and 2022 editions, extending the cinema's role from year-round exhibition into the city's major independent-film festival network.
Marketing campaigns
- 2022BAFICI venue participation
Argentina
After its earlier participation, Cine Cosmos UBA returned as a venue for the Buenos Aires International Festival of Independent Cinema in 2022.
Outcome. The participation reaffirmed the venue's continuing connection with independent cinema in Buenos Aires.
- 2012BAFICI venue participation
Argentina
The cinema again served as a BAFICI venue during the festival's 2012 edition.
Outcome. Cine Cosmos UBA continued its role in the festival's exhibition network.
- 2011BAFICI venue participation
Argentina
Cine Cosmos UBA participated as a screening venue for the Buenos Aires International Festival of Independent Cinema, aligning the university cinema with Buenos Aires's independent-film community.
Outcome. The venue is documented as having hosted BAFICI screenings in 2011.
Brand decisions
2010
Reopening as Cine Cosmos UBAStrategyBackground
The University of Buenos Aires completed its acquisition and prepared the historic cinema for renewed cultural operation.
Action taken
The venue reopened in November under the Cine Cosmos UBA name and university operation.
Aftermath
Cine Cosmos continued as a university-linked cultural cinema and later hosted independent-film festival programming.
2009
University of Buenos Aires purchaseM&ABackground
After the property was sold by the Vainikoff family in 2006 and a hotel conversion failed to materialize, the cinema required a new institutional direction.
Action taken
The University of Buenos Aires announced that it would acquire the cinema for US$2.5 million.
Aftermath
The acquisition led to the venue's reopening as Cine Cosmos UBA in November 2010 and integrated it into the university's cultural activities.
Purchase price. US$2.5 million (Announced December 2009)
1966
Rebranding as Cine Cosmos 70Generation changeBackground
The venue was being repositioned as a specialist cinema with a new technical and programming identity.
Action taken
It reopened under the name Cine Cosmos 70, referencing 70 mm film presentation.
Aftermath
The cinema established a durable reputation for international and especially Eastern European programming, with The Shop on Main Street becoming a major early success.
1951
Lobbying to restore Soviet-film accessStrategyBackground
Soviet films had been prohibited in Argentina since 1947, limiting the repertoire available to distributors and specialist cinemas.
Action taken
Argentino Vainikoff, with support from presidential secretary Martín Carlos Martínez, lobbied President Juan Domingo Perón to end the restriction.
Aftermath
The ban ended in 1951, enabling the subsequent expansion of Soviet and Eastern European film programming.
Sources2 sources
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