Ezequiel Salinas

Fleeing homophobic attacks, Nino moves to a rural house amidst a forest haunted by Almamula, a monster that takes those who commit carnal sins. In a world of whispers, unspoken desires and prayers, Nino’s curiosity and impulses rise to the surface.

Sonia and Arturo live in a house that appears safe but is too large and silent. One night, three armed men violently break into the couple's property. Arturo manages to escape and capture the youngest and most inexperienced of the thieves, deciding to kidnap him and discipline him in the basement of the house. Gradually, the anger dissipates, and strange familial ties emerge that Arturo and Sonia believed were long gone. "Salvajes" is a violent portrayal of a divided society, in an unequal social fabric where the boundaries between victim and perpetrator become blurred.

The hypocrites tells the story of Nicolás, a young cameraman who works filming social events, but doesn’t feel fulfilled with his profession. In the middle of a high profile wedding, he accidentally records a compromising situation between the bride, Martina, and her brother, Esteban. Realising about what is in the tape, he sees the opportunity of leaving his tedious life behind through blackmailing the people involved. However, he does not know this secret could endanger his own life.

In the summer of 1987 in a town in Córdoba, two teenage sisters, Elena and Lucia, are alone at home. The youngest is upset with her older sister, who thinks about how to get out of that town, to study and to live differently.

The film follows Agustina as she finds the videotapes that her father Jaime recorded before the accident that took his life. The family secrets surrounding Jaime push Agustina to get involved. Her search will reveal a story marked by sexuality and political activism.

Year 1866. Venancio, a young gaucho, embarks on a journey to escape from a curse through a war-torn region desperately seeking salvation among rustlers, priests, shamans and deserters. The stronger his fear is, the more real the legend becomes.

Through conversations with an array of Norwegian writers, filmmakers, psychiatrists, artists and more, Izquierdo investigates the impact of both the film and novel Sult by Knut Hamsun on generations of Norwegian culture and artistic practice, while exploring how it could speak about what it means to be an artist today.

Pelu is a thirty-something who barely survives on his salary as a projectionist at a municipal film club. After losing his job, he agrees to stay on as a night watchman and ends up living secretly inside the cinema, accompanied by the films he reviews every night.

César has been a watchman in a chemical factory for more than twenty years. One afternoon he receives a letter from his sister telling him that she has sold the family land in the mountains. César decides to abandon his job and undertakes a trip to that area, with the aim of recovering the urn with Elena's ashes buried there. Walking he faces the mourning veiled for years. The territory of his childhood is no longer the same, the forest fires, the advance of private property have changed everything. But the encounters along the way open him to a world that he had refused to face after living trapped in his job.

Luca, a reserved real-estate employee, is faced with the bureaucracy that prevents a construction from moving forward, which drives him to turn to a representative who will turn him into his front man. Blinded by ambition, he doesn’t notice that this will lead to a limitless fall.

A life marked by wandering. A character that leaves no traces or maps to trace. The file does not give an account of him. His works had no scripts and only existed in the fugacity of the moment. Jorge Bonino was an unclassifiable artist. He triumphed in all of Europe without a translator, he only used an invented language that everyone understood. An imaginary friend mapped the traces his body left in space through stories about a possible life.

It's late morning and Franca is sleeping. Maria interrupts her, wakes her up and covers her, in an attempt to get her out of her apathy. Maria is a little drunk and excited after a long night of partying. Franca, on the other hand, is sad and going through a crisis. The two friends talk between places, about the comfort and intimacy they share, about transference, time and how life goes.

On 3 November 1995, the Rio Tercero Military Factory exploded in Cordoba, prompting thousands of projectiles to fire and spread in the surrounding villages, in a tragedy that would leave seven dead and hundreds injured and affected. At the time, Natalia Garayalde was a twelve-year-old girl who lived with her family near the place, and he was still playing filming with the video camera her father had bought, when she recorded the immediate moments of the burst, while her family escaped the explosions, as well as the daily activities of the village in the days and weeks that follow. Twenty-five years later, that material captured from a girl's candid and surprised gaze it becomes a thoughtful and painful testimony about the family, the destruction of a city, the traces of horror, the sinister truth about the case.

Eva, a film editor, and her assistant Rami are working on a film about blind people. A melancholy reflection on cinema and images.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

A divorced taxi driver shows up with a black eye at the home of his ex-wife’s new family; he’s been invited to dinner and he desperately wants to reconnect with his young daughter. A professional magician’s car breaks down and he ends up spending an emotionally intense night with a young, widowed toll booth worker. A singer songwriter serving a lengthy prison sentence is released for one night to perform at a local community centre. These three deeply engaging stories about yearning for connection unfold in parallel, one New Year’s Eve in a small town in central Uruguay, balancing the universality of human suffering with a powerful sense of hope.

In 2017, young Mapuche Rafael Nahuel was killed by police in the Patagonian forest. Site visits, court proceedings – the film unites the elements involved in solving the crime. Meticulously observed: the struggle for civil rights and narrating history.

The life of Juan José Gorasurreta is pierced by images. In his new feature film, the historic film society programmer appropriates the films that made him in order to find new relationships and patterns and thus generate a convergence between his personal life, that of Argentina and that of cinema. In The Absences his travels coexist with Orson Welles, activism, Fernando Birrri, the Cordobazo, his studies, Eva Landeck, family, Carlos Echeverría, the Trelew Massacre, Nagisa Ōshima, censorship, film societies, the Malvinas war, his short films. The randomness of this list vanishes as the film progresses, and gives way to a synapse that is as logical as it is moving. “It is a portrait on how Argentine history and my encounter with films designed my sensitive areas” —as he did with his own story, no one could define The Absences better than Gorasurreta himself.

A landguard and his son go on patrol in a border area, where an invisible danger looms.

Nina and Fermín spend the night in the neighborhood where their father is a security guard. Between lights and shadows, they walk, play, eat. Nina observes others in silence, as though she were looking at herself in a mirror that is about to break. The night moves stealthily on, while other children watch them from their windows.