With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.
X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.
Martin moves around Buenos Aires at night, picking up guys, going to clubs, scoring drugs and having sex. Sometimes he’s paying and sometimes his trans sex-worker friend or another woman takes him along for a threesome.
An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…
For the unique 2x25 project, the festival asked 25 composers to compose a short piece of music, after which 25 filmmakers made a short film. A short film by Laura Citarella with music by Eiko Ishibashi.
Nothing went as planned: what seemed to be an original idea (taking an international fashion event to a small town in the Argentine Pampas) ended up as a mysterious affair, with a mannequin who seems to have vanished, and who insists on leaving small clues scattered across the immense plains. But nothing seems to be too strange for Commissioner Sirota and her particular method which, this time, includes a clairvoyant, a legendary detective arriving from Santa Rosa and some picturesque “peritas” who choose to work at night, swinging to the rhythm of Ska. In the middle, a disturbing question: Is it a police case they are dealing with, or is someone taking them (the police, the whole town, the Italians – all of us, perhaps) for a fool?
María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.
Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.
This is a film with music. Or about the music and texts that accompany, in a poetic way, a decisive battle between Unitarian and Federalists. The vicissitudes of the birth of a nation based on the play written by Mariano Llinás and Gabriel Chwojnik, whose images achieve some hypnotic strength.
The protagonist of Dog Lady is a woman (Llinás) who lives on the outskirts of Buenos Aires with a pack of dogs, in a house like so many other humble shacks in the urban sprawl of the city.
An album of odd and humorous stories on small places exclusively dedicated to idleness, which are empty in winter and crowded in summer: the spa towns. Cities under water, luxury hotels, mermaids, sea animals, sand castles, people who worship water, praying for health.
Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.
Is this film about Clorindo Testa or not? Is it about the life of the director, about the life of his father, about the life of his country, or is it just one of those biographical films that proliferate at film festivals in which the narrator spends his time recounting family anecdotes and pulling old photos out of a box? This small, microscopic adventure, whose subtitle, stolen from the Savoyard Xavier de Maistre, could well be Voyage autour de mon père, navigates between these threats and others even worse.
A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.
The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…
On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.
The story of a young couple, from beginning to end, from the euphoria of falling in love until the final days blurred and dark, is realized with an analytical eye and investigative zeal. How and why two people fall in love? What now? How quickly will they get into a relationship? When a relationship ends, and when should it end? Peter and Sofia, with its simple story of love, they become reflections of all those who, at twenty-five years have been in love.
Waiting alone for her boyfriend at a hotel, a woman starts paying attention to the mysterious behavior of some guests.
A group of girls and boys in their twenties settle in a country house that seems completely isolated from civilization, invited by Helena, who plans something humiliating for one of the guests.
Four characters are looking for a man called Castro, but we don't know why. For some mysterious reason, Castro is running. He has left his life behind, and survives by hiding in a room in a small city. He is basically alone, but someone has appeared in his life, Celia. She is young, beautiful, and sometimes cruel.
