Lucía Cedrón

The kidnapping 77-year-old man in Argentina forces his daughter to return to Buenos Aires after years of exile abroad.

A collection of 10 short films made by known Argentine directors on the AMIA bombing of July 18, 1994.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.

No description available.

As Marie sits in the bathroom waiting for the results of her pregnancy test, she recalls her last few hours in Argentina. Memories of her flight from violence are intermingled with those of her first few hours in the unfamiliar country of her exile, together with a sense of hope in the new life that may be growing inside her.

Soledad is pregnant with her fourth child. She and her partner, Alberto, are awaiting the arrival of this child at home. They hope for a birth in harmony with nature. We will witness the moments leading up to the baby's arrival and the mother's labor.