Victoria was crazy about the work of Vittorio De Sica, Jean Renoir, Lawrence Olivier, and Luchino Visconti. She loved films which set tenderness and humor side-by-side, films that allowed a viewer “to let tears flow in the movie theater, to be engulfed by real life.” Whenever Victoria traveled to New York she would spend a good portion of her time at the movies. She was fascinated by Lina Wertmüller, and recognized her sharp wit while bemoaning that “she never softens. This strength is her weakness.” Victoria loved Danny Kaye as well. If a film failed to please her, however, she would get up after a half hour, sometimes moving to a different theater.

During her first visit to the United States in 1930 Victoria met a young director and was won over by his films. This director was the Soviet Sergei Eisenstein, who would grow to be one of the most gifted moviemakers of all time. Victoria must have sensed his talent, and encouraged him to visit Buenos Aires and to film a movie there. Yet in spite of her enthusiasm she was unable to obtain financing from Argentine officials and Eisenstein, his attention piqued by the novelist Upton Sinclair, went to Mexico to film ¡Que viva México!

At the suggestion of Jorge Luis Borges, Victoria included film reviews in Sur even before cinema had acquired the status and prestige it would later hold. Alfonso Reyes, Borges, María Luisa Bombal, and Luis Saslavsky commented on films by Chaplin, King Vidor and Hitchcock. “In the Sur reviews there is always a thread tying together the whole analysis, from anecdotes about the stars to the technical aspects of the picture,” explains David Viñas. In a piece she wrote for the 37th issue of Sur to celebrate the opening of the new Rex theater in Buenos Aires, Victoria could not help turning her eye for aesthetics to the sober and moderated architecture of the brand new building.

Around 1953 Victoria dedicated herself to a further project: she wanted to have Argentine cinema be recognized at the international level. This time, she hoped to invite Vittorio De Sica —whose Milagro en Milán and Ladrón de bicicletas had impressed her— but the president of the cultural commission told Victoria that, as M.E.Vázquez recalls, he “found the movie Humberto D appalling.” And thus the project came to nothing.