He began his filmmaking career in the Buenos Aires independent short film scene shot in the Super 8 format,[1][2] making more than twenty works between the 1970s and 1980s, among which Del génesis (1980), Ecce civitas nostra (1984)—co-directed with Jorge Polaco—and Memorias de un loco (1985) stand out.

[24] César is currently in post-production on two films shot in 2023: Historia de dos guerreros, a love story between two men in the world of mixed martial arts,[25] and Después del final, biopic about artist and gallery owner Luz Castillo.

[28][29][11] The content of his films is influenced by his studies on the mythology, ethnology and ethnography of various countries,[23][30] exploring themes such as postcolonialism,[15] the legacy of African philosophy and cosmogony,[13] the ties between the East and the West,[31][23] the impact of the Afro-descendant community in Argentina,[30][20] and the challenging of the traditional representations of Africa and India.

"[24] César is a proponent of the so-called "South-South Cooperation" (Spanish: Cooperación Sur-Sur), promoting modes of production, distribution and dissemination of films from the Global South that contrast with the mainstream trends.

[8] In a 2017, César noted the significance of that gift: It allowed me many things because my adolescence was stolen by the dictatorship, I was 12 years old and a few months after my brother gave me the camera, at the end of 1975, the country was transformed and that was a weapon where I turned my dreams, my nightmares.

[34] On the occasion of the official visit of President Raúl Alfonsín to the Soviet Union in October 1986, the films Ecce civitas nostra and Memorias de un loco were shown on television in the country.

In Argentina, La sagrada familia competed at the 1988 First Film Festival of Bariloche, where it won awards for Best Male Performance (Ariel Bonomi), Best Camera Work (Oscar López), and Best Scenography (Ramiro Cesio).

[14] From July 29 to August 5 of that year, the director was part of the official jury of the Kélibia International Film Festival, Tunisia, where he screened La sagrada familia out of competition.

[48] Interviewed by the newspaper La Prensa, the Chargé d'Affaires commissioned for the opening of the embassy, Hassine Souki, declared: "Culture already unites us through an agreement signed in 1968 that has borne multiple fruits, the last of which is the cinema, through the recently known co-production of Equinoccio, el jardín de las rosas, by Pablo César.

[53] On the night of January 14, César was invited to the suite of the Taj Bengal Hotel in Calcutta where the Italian filmmaker Michelangelo Antonioni was staying, to have dinner with him, Pino Solanas and their respective wives.

[55] Due to non-compliance on the part of said Indian producer, César traveled to India again and contacted the director Murali Nair, signing a new co-production contract to shoot the film in Rajasthan.

Nair was not the original producer of Unicornio, on the Indian side, but the businessman who had closed a deal with Pablo César not only caused him many problems at first (as the director will refer to below) but later had the rudeness to die.

[57] César traveled to Mali in January 1997 and met with the National Center for Cinematographic Production (CNPC) in the town of Hombori, presenting the project of Afrodita, el jardín de los perfumes to them.

[57] In order to cover the costs of reshooting the missing scenes, César decided to mortgage his office in the hope of support from the National Institute of Cinema and Audiovisual Arts (INCAA).

It was screened for the first time in November 2003 as part of the Official Competition of the Amiens International Film Festival, in the French city, where the protagonist Ivonne Fournery received the Best Actress Award.

[61] In 2008, César made a trip to Benin together with the screenwriter Jerónimo Toubes, visiting the cities of Ganvié and Ouidah, in order to develop a film about the African roots in the population of Argentina.

[33][13] El cielo escondido was shot in July 2015 in the Namibian towns of Twyfelfontein, Swakopmund, Walvis Bay, Kolmanskop, Lüderitz and the NamibRand Nature Reserve; and in September in the Province of Córdoba, especially the Eden Hotel in La Falda, linked to Nazism.

[78] In 2017, César shot Pensando en él (Thinking of Him), a film based on the meeting between Rabindranath Tagore and Victoria Ocampo in 1924 in Buenos Aires, played by Victor Banerjee and Eleonora Wexler, respectively.

"[22] In 2016, César met the Moroccan producer Souad Lamriki—co-founder of the production company Agora Films—during a panel on African co-productions, held within the framework of the Mar del Plata International Film Festival.

[80] César has given several conferences on the so-called "South-South Cooperation" (Spanish: Cooperación Sur-Sur), promoting modes of production, distribution and dissemination of films from the global south that contrast with the mainstream trends.

In February, shooting began on Historia de dos guerreros in the province of Corrientes, more precisely in the town of Empedrado and in the Cambá Cuá neighborhood of the provincial capital.

[83] On February 6, the director presented the project in the Salón Verde of the provincial Government House, at a press conference accompanied by the head of the Institute of Culture, Gabriel Romero, and the mayor of Empedrado, José Cheme, together with the actors Alejo Isnardi and Idriss Mousa Sare and the executive producer Pablo Ballester.

[26] With a screenplay by Jerónimo Toubes, the film stars Luz Castillo herself, with a cast that also includes Eleonora Wexler, Héctor Bidonde, Nilda Raggi, Natalia Cociuffo and Alejandro Botto, among others.

"[24] According to scholar Lieve Spaas of the University of Alabama, the geographic diversity of his films "reveals the filmmaker's determination to reflect on the ways in which cinema innovates traditional practices of representation by defamiliarizing existing perceptions of culture.

"[15] One example is Afrodita, el jardín de los perfumes (1998), in which César recreates the Greek myth of Aphrodite but alters its traditional paradigm of feminine beauty, since it places the story in the heart of Africa and represents the goddess as a black and male character.

"[23] According to the American researcher and professor David William Foster, Afrodita, el jardín de los perfumes can be interpreted under the notion of queerness, arguing that the film challenges heteronormativity and gender binarism in its heterodox representation of the goddess of love.

[89] Lisa Nesselson of Variety called Unicorn the Fruit Garden: "A celluloid oddity bathed in homoerotic overtones (...) Via a circular structure linked by a sloshed poet, pic incorporates human sacrifice, much symbolic tweaking of male nipples and other ritualistic behavior set in mystical vistas inhabited by hairless young Indian youths in scanty attire.

"[1] Writing for La Nación, Claudio España summarized the style of the movie: The film connotes an individual, personal, complex and sui generis interior space.

[13][69] In an interview with Página/12, he explained his interest in the philosophy of these cultures: "When writer Erich von Däniken published the book Memories of the Future, which pointed out that we had been visited by beings from more advanced civilizations, they treated him like crazy.

[13] Journalist Pablo E. Arahuete pointed out that, unlike Los dioses de agua, El cielo escondido "this time does not appeal so much to the realm of dreams, but develops a suspense story, anchored in the idea of silencing those voices that try to tell what the true interests are behind the facades of foundations or powerful groups, who see in the African continent and its population the most brutal and reactionary pretext as part of an authoritarian discourse that simply relies on the rules of the most savage capitalism.