Agustina Llambi Campbell

In the 1980s, a team of lawyers takes on the heads of Argentina's bloody military dictatorship in a battle against odds and a race against time.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

When a woman is admitted by her daughters to a psychiatric clinic for her carefree ways, an expert must judge if she is ill or simply wants to enjoy life.

Julia, a 25 year-old university student, two weeks pregnant, with no criminal record, is sent to prison. Julia murdered the father of her child. This story addresses maternity, jail and Justice; confinement, guilt and solitude; but above all it deals with Julia and her son, Tomas, born inside an Argentinean prison.

Sosa is a lawyer who haunts hospital waiting rooms hoping to represent the victims of traffic accidents in insurance claims. When he falls in love with ambulance medic Luján, he tries to leave this dark business but the shady law firm that he works for won’t let him off that easily.

Roque starts University in Buenos Aires but he is not particularly interested in attending classes or working towards a degree. Instead, he dedicates his time to one of the many groups vying for control of the university, motivated less by grand political ideals than by a wish to get close to Paula, an attractive young teacher heavily involved in internal university politics.

Blondi and Mirko live together, listen to the same music, watch the same films, like to smoke pot and share the same friends. But, even though they seem to be the same age, Blondi is Mirko's mother.

In Patagonia, a successful interior designer's life falls apart after he suffers a horrific accident.

A rural police officer investigates the bizarre case of a headless woman's body. The prime suspect blames the crime on the appearance of a legendary monster.

A high-ranking officer infiltrates groups peacefully organizing to demand the release of detained relatives. Argentina was under military rule from 1976 to 1983, a period in which tens of thousands of people disappeared. The abovementioned groups were giving rise to a form of civil resistance at the heart of the dictatorship that was running the country.

As laid-off factory worker Marcos pins his hopes for a new life on completing his long-unfinished one-man play, he contacts his estranged friend Martín, now a television writer, for help. But can their collaboration transcend an uneasy past? As the men come together in the creative process, they're offered a chance to rebuild their abandoned friendship.

Ana, Manuel and Leo, three young people in modern-day Buenos Aires, get caught in a spiral of coincidence and suspicion, misconduct and persecution. None of them is innocent.

Despite his long-term relationship, Ernesto also has a fleeting romance with a blonde. Only when he is in danger of losing Paula, through his constant flirting with other women, does he see the consequences of his immature behaviour. In a calm tempo, with meticulous camerawork, the film subtly evokes a mood of nostalgia for a carefree adolescence from which Ernesto and his friends have difficulty taking their leave.

In 1969 Argentine filmmaker Hugo Santiago directed Invasión, his opera prima, written by Jorge Luis Borges and Adolfo Bioy Casares, and later settled in France. This film documents his return to Buenos Aires in 2013 to shoot his latest film, Le ciel du centaure.


1889. On the occasion of the Centennial Celebration of the French Revolution, Argentina sends a dozen Selk'nam Indians to the Argentinian Pavilion at the World's Fair. The epistolary exchange between a French and an Argentine diplomat reveals the absurd horror of the bureaucracy involved in creating a Human Zoo.