José Celestino Campusano

Ariel is a good-looking farm boy who lives with his father and sister in a rural part of Buenos Aires province. He has become familiar with sex thanks to Omar, a priest with whom he has a secret affair.

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Delfina is a beautiful woman of 45 years who enjoys a good economic spend and shares her life with her faithful husband and her teenage daughter. Through an intimate friend, Delfina meets Kamil, a supposed high-ranking businessman.

A rural family consisting of Ñancul, a teenager, his mother, and his father are being visited by a priest who wants them to join the congregation. Ñancul’s mother, influenced by her son's odd behavior and the priest’s words, comes to believe that her son is possessed by demons.

Iván is a Spanish film producer who travels to Argentina with a single mission: to meet Carmen Trevilla, a cult director who is in the creative process of her new “video.” From minute zero, he feels captivated by her overwhelming and disconcerting presence. Although he still does not know if he is going to produce it – since he thinks that his cinema will not be well received by current European sensibilities – Iván takes advantage of every moment with Carmen to record, with his cell phone in his hand and an endless smile on his face, every adventure they embark on.

José Celestino Campusano is preparing a new film. To do so, he summons a group of men including Vikingo, his usual actor. The four of them reflect on their origins, violence and cinema.

Simón is the owner of a hardware store in the greater Buenos Aires area with four employees. Constantly mistreating them, he never gives them a break, creating a high level of unease in the everyday work routine. Absolutely submerged into the world of labor, The Spider's Lullaby weaves its story with each tension that shape management authoritarianism but also solidarity, resistance, and vile deeds among colleagues.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

Morena is a trans woman who lives together with her elderly mother, keeping a harmonious relationship. Morena has been working in a textile factory for several years. She has two transvestite friends, one of them is Claudia, who is a teacher and has just accessed to her first employment as substitute; another is the very young and beautiful Myriam, immersed in a maelstrom of excesses linked to prostitution with police protection. Morena discovers that Ricardo, her current partner, has lied to her from the first moment, that he is married and is the father of two children, so she decides to end the relationship.

Vero lives with her older brother Abel, and they both work together at a construction site. There she has to put up with the advances of some of the workers, which is something she’s used to doing because she’s had this job since she was a lot younger. In the Border follows this character on her path to becoming a better person, which is represented in her way of helping a cousin with an abusive husband and in the NGO she signs up for to give food to the homeless who live on Paseo Colón Avenue. But there’s another parallel film here, and it’s the one in which Campusano’s eye captures the City of Buenos Aires in his own unique way. One of those great moments takes place as soon as the film begins, when Campusano stops to film some street musicians while they rap on a subway platform.

The story of "Vikingo", a rude motorcyclist whose rigid principles are honor and respect.

A girl comes to town to work as a dancer, an entrepreneur of the night becomes his manager. A journalist in decline, looking for the news that catapults him. All three converge in the VIP Sector, where human trafficking, fake news and transgressions of power coexist.

Matías and Micaela will slowly get involved in the independent film world at the 3rd International Film Festival of Cosquín. A very tender and shy love story will begin between them.

Román, who is dedicated to the protection of political leaders and tries to develop himself as a trainer and manager of boxers, is harassed by a duo of abusive representatives who in turn have been hired as a shock force by an opposing political party.

José Celestino Campusano continues his task of exploring territories that haven’t yet been covered much by Argentine cinema, but with which, film after film, he managed to configure his own universe. This time, the prolific filmmaker traveled to the locality of Gálvez, in the province of Santa Fe, in order to collect town life experiences and, with them, shape his new feature. The Naked Queen is the result of this journey.

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The determination and dedication of a former musician who is now a social assistant in Bariloche – one of the best-known tourist resorts in Patagonia – is not enough to avoid the misfortunes experienced by local youths. This film reveals, without concessions, the picture never presented in the postcards of this town.

Cícero is a serial rapist who drugs and abuses women who go to him seeking spiritual healing. His ties to local police and politicians intimidate his victims and their partners... but not all of them.

Roberto is a bored young man living in the suburbs of Buenos Aires who begins a relationship with an older man named Raúl. Their romance takes a disturbing turn after Raúl catches Roberto with another man and turns increasingly abusive.

A homeless man recites poetry on the streets. A young man who is studying the new wave of writers at Mexico takes notice of this talent and starts following him.