Santiago Gobernori

Santiago decides to start a family with his girlfriend Ana, even though she is pregnant with her ex, Pancho's. However, the real challenge will come when Pancho unexpectedly returns from Miami to get involved in the pregnancy, unleashing a series of comical and chaotic situations in his home.

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…

Jorge Peker (Santiago Gobernori) is a frustrated lawyer who does not practice his profession and who is employed in a call center. One afternoon Jorge learned that his father had died. A few days later, at the wake of his father, his girlfriend Luciana (Charo López) leaves him and learns that his father left him as a legacy a house. The conflict appears when you realize that you can not keep this huge house alone, which forces you to rent a room and the only candidate that comes is Ludovico (Javier Drolas), a live, active and enterprising boy, his complete opposite. Ludo is paralyzed and walks in a wheelchair. This makes Jorge fight against his prejudices and learn to live, not with someone different, but simply, with living with someone, accepting others and considering them. And so he sets out on the royal road to be able to form the family he always wanted.

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.

Tangled in a troubled marriage, a frustrated couple finds hope in a watch-based app that rewards good deeds — until unhealthy obsessiveness takes over.

Julio returns with his family to Argentina after the downfall of the brutal dictatorship that overpowered long-standing democracy. Things soon take an ugly turn as his brother is kidnapped and Julio becomes the lead negotiator with the criminals.

By chance, Martin and Laura travel to Villa Gesell at the same time. They are not together anymore but 18 years ago they conceived their son, Pablo, there. Soon, situations as absurd as they are touching will arise from their encounter. Juan Villegas ventures into comedy and is back at Bafici with a nostalgic, intimate film.

Joaco's infidelity breaks up the couple with Vanesa. Trying to maintain a friendly relationship is a possibility that Vanesa accepts because she cannot think without him. The acceptance of the separation will be a painful path but one of personal growth.

Claudia is a workaholic event planner. When a colleague asks her to plan her wedding, she starts to notice a lot of issues with the ceremony and changes it's location on the last minute, unfolding on a series of unfortunate events.

With her girlfriend lying comatose in the hospital, after having found her lifeless body in the bathtub, Clara starts the path of physical and psychological transformation with the goal of possessing her girlfriend again in some way.

In a society where people are addicted to their cell phones, a man runs out of battery.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

Sebastián is a locksmith who begins to have revelatory visions about his clients every time he touches their locks. This power complicates his life.

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

A young man, on his way to a factory to assess its efficiency, causes a car crash. The factory owner, who ran the business with his wife and her brother, has been killed in an accident, though whether it’s the same accident is left unclear. The film explores the unforeseeable ramifications of the twin tragedies.

It’s winter in some city. A young lonely woman walks the night with an obsession: never ceasing to chew gum. This affects her moves and relationships. When she finally accepts to give up on the world she knows, there will be no turning back.

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.

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Is this film about Clorindo Testa or not? Is it about the life of the director, about the life of his father, about the life of his country, or is it just one of those biographical films that proliferate at film festivals in which the narrator spends his time recounting family anecdotes and pulling old photos out of a box? This small, microscopic adventure, whose subtitle, stolen from the Savoyard Xavier de Maistre, could well be Voyage autour de mon père, navigates between these threats and others even worse.

With scenes at times current and at others medieval, dramatic or overloaded with useless gestures, Jarry, Ubú Patagónico is a dialogue with “Ubú Rey”, by Alfred Jarry, and his decalogue about theatre. The work also explores Jarry's non-theatrical texts until the material is appropriated in its immateriality by a group of Patagonian Indians who take Mother Ubú prisoner.