María Florencia Álvarez

Analía’s mother sends her to Buenos Aires to deliver some handicrafts. She is expected to return home quickly to the country town where she is to take on her family’s hairdressing salon. But by chance an address mix-up leads her to a Muslim community where she finds herself taking part in a ritual completely unknown to her. Enthralled by the new world she has entered, Analía decides on the spur of the moment to take on another identity.

Seemingly abandoned, a young woman walks through the porous city of Buenos Aires with her camera, finding potential mothers at every turn.

Claris and Oli, two fans of a fishing reality show, dream of a different life as they wander through a supermarket that they have turned into their makeshift home. Among the aisles and products, they face the reality of living on the margins.

Parallel 46 was completed in record time on a tight budget in Central East Patagonia. Cano's quest in the Patagonian region is set in an imaginary landscape dotted with the remains of an oil drilling activity from a by-gone age. The camera pans across huge expansive vistas, mountain landscapes and dry gullies but the presence of polluted drilling rigs rapidly transforms the scene into an infected idyll that sums up our contemporary contradictory world in a dialectically polarized image. Like the jogging metaphor, Diaz Morales' images are constantly on the run - in a single image but also in the diachronic time span of the film. The result is a richly coded and fractal filmic progression that, like the jogging metaphor, is constantly moving on the spot or moving from point to point. This, like other of his films, is continuously passing from a concrete geographical or socio cultural context to a fictitious elsewhere.