Rodrigo Sánchez Mariño

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…

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.

Roque starts University in Buenos Aires but he is not particularly interested in attending classes or working towards a degree. Instead, he dedicates his time to one of the many groups vying for control of the university, motivated less by grand political ideals than by a wish to get close to Paula, an attractive young teacher heavily involved in internal university politics.

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.

Waiting alone for her boyfriend at a hotel, a woman starts paying attention to the mysterious behavior of some guests.

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.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.

Joaquin likes to hang around with friends, smoke pot and watch films. One night, Josefine stays with him and they have sex. The next day she is gone, leaving blood in the bathtub. After that, strange things start to happen to Joaquin. A fortune teller tells him the shocking truth. A daring, scary and disorienting debut with a fresh voice and a stoner sense of humour.

Sound Design for Cinema in Argentina, by famous Sound Designers

On the banks of the city of Buenos Aires, among the rubble that forms the coast of her ecological reserve, she listens attentively to the confession. The rest, what follows, will be mere inconveniences and questions between a corpse and a double bass, between the imperfect city and its river, which will sow doubt about the resistance of its revenge.

Film made to commemorate the first 10 years of BAFICI. The film alternates fictional scenes of a couple of spectators in different situations at BAFICI, with interviews and testimonies of important figures in the history of the festival. The first series captures a certain spectator spirit of the festival, while the second accumulates successes, built by reading texts and with interviews with central actors of the film scene in Argentina.

This film, Diario de el Loro y el Cisne, is one of the results of this process of writing directly over the images and sounds. It is made entirely from discarded material from the film Loro y el Cisne. I'm not entirely sure of the result. The only thing I can say about it is that it's extremely sincere.

A director returns to the town he was born to record the movie theaters that are disappearing. The town is no longer the same. He projects images on the walls of the houses, giving life to those dead spaces. Time absorbs both the history of the town and the director’s family. His father is no longer there and neither are films.

Just like someone who takes out his dog for a walk everyday, Petriz is condemned to watch and hear every move from a woman inside a house. We don’t know why or for what reason. We’re just there, alongside Petriz, watching and hearing.

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No description available.

Documentary that chronicles the journalistic investigation initiated 45 years after the massacre of February 22, 1977, when four men and two women were executed by firing squad by the Army against a wall of the Racing Club de Avellaneda stadium during Argentina's last military dictatorship.