Andrew Sala

An atmospheric chronicle of the 2001 crisis in Argentina, a political, economic, and social uprising fueled by the "Let them all go!" revolt. The film reconstructs this moment using restored archival footage, capturing the spontaneity of the protests and the political instability that led to the resignation of five presidents. Through television footage, it immerses the viewer in a real-time experience of this crucial period in Argentine history.

18-year-old Nacho shows up at the cow-breeding ranch of his father, Marcos, whom he barely knows. His father is worried because, as the ranch’s yearly auction is approaching, several cows are dying without explanation. When Nacho finds out who is killing the cows and why, he understands the magnitude of the problem. Cornered by distress and confusion, he’ll have to choose: being a boss or not being a boss. Perpetuating the system, the insult, the abuse, or refusing to take part in it.

Five sex-themed stories: Story 1: At night, while waiting at the central bus station of Retiro, a man meets an adolescent girl, Reneta at the bus station. They go to a cafe and begin a conversation about sex that will prove to be deeply disturbing. Story 2: Walter, an adolescent boy will discover a new interest in his sister's boyfriend, Platero while they are fooling around on their bunk bed. Story 3: Virginia and Pablo maintained a loving relationship for some years; she is still in love but he is not the man she met. Story 4: Gustavo, a 40-year-old Argentinean married to an American woman living in the USA longs for his sex life in Buenos Aires stimulated by photos of Argentinean teenagers on the Internet. Story 5: A well-built married office employee has sexual fantasies about the women working in his office.

A Jewish wedding cameraman falls in love with a klezmer clarinetist and pretends to be making a documentary in order to spend time with her. His fake project leads to a real journey through Eastern Europe in search of lost klezmer melodies and the remnants of Yiddish culture. A documentary-fiction hybrid. Winner of the Best First Feature Award at the Berlin Film Festival.

A cat wandering among the pastures, the sparks that emerge among the red embers of a fire, a man walking under the shadow of high trees in the middle of a forest, a distant fire, the ghostly figure of firemen at night: these are some of the minimal postcards that make up the enormous beauty of the Manantiales mountains, in the outskirts of Córdoba, Argentina.

Life and work of the controversial Argentine film director Jorge Polaco who questioned all moral institutions, exposing himself to the most scandalous media ridicule and risking his vulnerability. Is it possible to evade legitimation? Does the era of the algorithm allow that gap through which these singularities were previously filtered?

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Sebastian Muro, the director of this film, starts shooting his father, Rafa, an extroverted businessman, for a film school exercise. Hypnotized by the easiness and indifference his father has with the camera, Sebastian continues shooting him without much purpose until, without him noticing, he starts telling his own family story and stumbles upon an unsettled matter: the absence of his father during nearly a decade when Sebastian was a boy.

Pantanal is a South American road film, situated somewhere between fiction and documentary, that takes place between Buenos Aires and the Pantanal in Brazil’s Mato Grosso. A man flees Buenos Aires with a bag full of money and with every intention to repay the debt he owes his brother, with whom he has lost touch with years prior. The journey towards the Pantanal becomes complex as the man runs into various complications and begins to believe that someone may be following him. As visually stunning as it is intellectually stimulating Pantanal employs documentary testimonies of the people who encountered the man throughout his journey, adopting real life into the fictional narrative. Working within a hybrid between fiction and documentary keeps the film both captivating and engaging throughout the film’s entire journey, in addition to adding emotional credibility to this road movie.

Facing the consequences of a violent uprooting, Mateo Sobode Chiqueno has been recording stories, songs, and testimonies of his Ayoreo people since the seventies. In an attempt to preserve fragments of a disappearing culture, Mateo walks across communities in the arid and desolate Paraguayan Chaco region, and registers on cassettes the experiences of other Ayoreo who, like him, were born in the vast forest, free and nomadic, without any contact with white civilization, until religious missionaries forced them to abandon their ancestral territory, their means of subsistence, their beliefs and their home.

No description available.

From a privileged viewpoint, the spectator witnesses a series of events among which there is a murder.