Gustavo Fontán

Ana loses her mother after a sudden heart attack. He tries to avoid his feelings by feigning indifference. He doesn't stop doing anything he always did, until a message, left by his mother in a radio message box before she died, is accidentally deleted. Ana is forced to face reality.

An elderly couple debates whether to cut down an ancient acacia tree that has witnessed the major memories of our lives.

The poet Salvador Merlino didn’t live to see published April’s elegy, his last book, as he died when it was still in the printing press. His daughter Mary (72) and his son, Carlos (74), kept the parcels of copies of their father’s book stashed away for 50 years, high up, on top of a wardrobe. The curiosity of young Federico will force them to come face to face with themselves.

La orilla que se Abisma is conceived as a journey, a trip along a river. Like rivers, like all journeys, the film has meanders, small riverbeds, detours and moments of rest.

The story of the rebirth of Federación, Argentina that in 1974 was flooded by the waters of the Uruguay River and subsequently destroyed by the government to be relocated and rebuild, told by its characters.

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.

Mónica did not make a client's payments of the office where she works. The missing 15K pesos not only commit her but also a colleague, who is the one who discovers the fault. It seems that is not the first time that this happens, but the colleague, despite his anger, kept silence and chose to believe her again: Mónica commits to replenish the sum of money the next morning.

Nora and Javier have been hired to transport a shipment of cocaine in an ambulance. With the help of Wendy, Javier's transvestite brother, they rob a part of the shipment and escape from the police. Moulded by loneliness, indifference and a lack of communication, Nora, Javier and Wendy are three youths with no future who move on the outer rim of society and are helpless in the face of a corrupt power. They hide in El Marquesado, a seaside resort built by the military on dynamited cliffs where Rodolfo and Mercedes, Javier and Wendy's parents, survive by rustling pigs and cows from neighbouring farms. The conflicts and tensions in this marginal family resurface as they are reunited in this remote place with a sinister past.

Sonia (45) and Jonatan (18), mother and son, share the house: a place for the mother's grief, a place for the son to escape. The husband is absent, gone, and attempts to find him lead nowhere. The son will leave at any moment. Anguish clouds the hours, shapes the mother's perception. Sonia drinks, gets drunk, tells strange dreams, and commits dangerous acts. Jonatan feels responsible. He takes care of her. If the episodes continue, if the mother becomes increasingly fragile and vulnerable, will the son be able to leave?

A mixture of documentary and fiction as seen through the eyes of a non-participant observer, this drama presents the life of the fisherman Maldonado. After his wife Celia leaves him, we watch his lonely life in a series of cyclical everyday activities as we listen to Celia's voiceover. Although it tends to repeat itself, it reveals something new every day. We always observe a different part of the daily work of a fisherman, or see it from a different angle. This sense of conflict is heightened by contradictory motifs on-screen and in the voiceover. Words clash with images, the everyday with the extraordinary, space with time.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

Juan and Ismael are great friends, they work in a corralón in Moreno. Riding the truck they go through the winter and live with the harshness of work, they do it with humor, sometimes helped by alcohol. Friendship is a difficult wall to break between them. Juan, drives the truck and lives surrounded by dogs, Ismael, loads the truck and dreams of having money.

A German family unravels as they are forced to abandon their farm in Entre Ríos, Argentina.

The life of the writer Leopoldo Marechal through various testimonies collected at the Café Izmir, where Adán Buenosayres and his bar met, and which closed its doors a while ago in Villa Crespo, which includes the dramatization of some fragments of his works.

A family gets together for New year. Three sisters and their families who live by the river. One of them does not attend because she is still in mourning. Her sisters and her nieces try to convince her but she remains firm in her refusal.

"Several times a day, for many months, I went out to the terrace of my house to look at the terrace next door, which is the terrace of a nursing home. I went out as soon as I got up and before going to bed, as in a ritual. And soon, over the course of the weeks, I went out several times a day to look at that space, a window between two concrete blocks, a mysterious door, the light on the ceilings." (Gustavo Fontán)

A couple builds a space to live. When it is finished, before inhabiting it, they invite a group of people to visit it. The invited people circulate individually through this new and empty space. They look, they walk, they talk. The film tries to rescue the effect of that experience in each one of them. So the space itself becomes an experience. What will they leave of themselves? What will they take? What will they show of the human? What is a house? What do you do with the past? The series of people who briefly inhabit that place, recently built, still free of all traces, could be thought of as infinite. The space fills and empties. The residual of that transit remains: a luminous fragility.

Documentary produced by and starring members of the Association of Former Detainees and Disappeared. Rather than the testimony of survivors themselves, the accounts of former detainees and disappeared are presented as informed and informative voices about the process of judicial impunity that ensures the freedom of those responsible for state terrorism in Argentina, from the final document of the Military Junta to the present day.

No description available.

A story between a 65 years old man and a woman who is thirty years younger that him. The film, explores the human relationships through fully identifiable human beings, taking also into account the prejudices, the lust of life and all those everyday defeats.