Marcos Pastor

A medieval heresy and the first Protestant church in history, the Waldenses are both an 850-year-old peasant community and a current that in recent decades has challenged the Vatican on issues such as gay marriage, euthanasia and abortion.

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 steel mill about to close divides a city in southern Italy. The conflict between environmentalism and labor is posed in apparently unsolvable terms. The director embarks on a contemporary drama with expositive clarity, power and good faith—history is also written in the present tense.

Bernardo is fifty years old and feels overwhelmed, confused, almost devastated; surrounded by the violence typical of a society that is slowly collapsing. With relationship problems, difficulties in conceiving a child and a woman who cannot - and does not care - dive into his deepest conflicts. Bernardo finds no rest anywhere. His head is about to explode when he decides to take a little vacation with Diana at their house in Tigre. They will not go alone: ​​Nancy, an islander and house cleaner, will be part of a key night for Bernardo.

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

Alberto Laiseca was a writer, a writing teacher, and creator of the “delirious realism”. This is a depiction of the author of Los Soria and El jardín de las máquinas parlantes, and his relationship with writing and his students.

Film made up of two episodes: Complications and Happiness is a studio apartment.

In an intimate and geographical journey, the director tells in the first person the story of his grandfather Ludovico, an Italian who arrived in Argentina after fighting in World War II and who soon reveals himself disturbingly contradictory. His traces still mark his descendants today, and unraveling his history becomes crucial to assimilate the present. In search of his secrets, the director must go into the desert, face the silences of his own history, redefine his identity and rebuild family ties that have been broken for years.

It tells the story of a gunman who escapes from prison and, once free, returns to search for an old loot he buried in the Villalobos cemetery. The peculiarity is that there are some dead people there who have no intention of staying in their graves.

The documentary Rastrojero, Utopías de la Argentina Potencia (Rastrojero, Utopias of the Power of Argentina) tells the story of Eduardo, who travels in his Rastrojero truck to the same Córdoba that fifty years ago employed him at IME (State Mechanical Industries) and to meet up with his colleagues from that time.

In northern Argentina it is said that La Salamanca is a sacred place. They say that it is a cave, a clearing in the mountains or a bend in the river where whoever has enough courage can invoke the Devil (the “Zupay”) to propose a pact: his soul in exchange for a gift. The first step is to renounce the Christian faith.

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