Emiliano Serra

Set in the late ‘90s, in the height of the privatizations and the increase in poverty, Postman closely follows Hernán, a young man full of illusions that gets a job at the Central Post Office. There, a colleague teaches him the codes of the trade, but the harsh reality will force him to break them.

In the middle of a mysterious insomnia epidemic that slowly takes on catastrophic dimensions, Laura (39) and Augusto (42) flee the city in their motorhome to get away from the chaos. As they move down the route, the world becomes an increasingly strange and dangerous place. Finally, Laura reveals a story that changes everything. The road is depopulating, the silence grows and it is increasingly difficult to differentiate the reality from the dream.

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The Nieto family lives off crime: Assaults and express robberies commanded by policeman Molina, who orders the missions. Nieto executes them, with his son-in-law Boris as henchman. Nieto is already over 60 years old and wants to retire and leave something to his children, Nati, hairdresser, Marcelo, the youngest son who works security in a company and does not want to get involved in these jobs. A final mission could give Nieto the tranquility of retirement and some well-being for his family. But things do not go as expected. Marcelo must return to action and the situation will go from bad to worse.

The film tells how in 1970 a group of Argentine filmmakers - including Alberto Fischerman, Rafael Filippelli, Julio Ludueña, Miguel Bejo, Jorge Cedrón, Dody Scheuer and Luis Zanger - decided to make a short film each in one night. The occasion is perfect to describe the atmosphere of the '70s, the fever in which militants and publicists lived, the clash between art and politics. Includes fragments of the films The Players vs. Ángeles Caídos (Fischerman, 1969), Shadows (John Cassavetes, 1959), Made in U.S.A. (Jean-Luc Godard, 1966), L'eclisse (Michelangelo Antonioni, 1962), The Hour of the Furnaces (Pino Solanas & Octavio Getino, 1968), Tire dié (Fernando Birri, 1960), Alianza para el progreso (Ludueña, 1971), La civilización está haciendo masa y no deja oír (Ludueña, 1974) and La pieza de Franz (Fischerman, 1974).

Leandro is a troubled and withdrawn teenager. The breakdown of his family structure forces him to find solace in the streets. He slowly begins to descend into delinquency and crime. His relationship with Chachota, his closest accomplice, has deteriorated, and Leandro is certain that Chachota betrayed him to the police. He also implicates him in a series of robberies, which link him to "Gordo" Ovalle, a shadowy criminal whom the police have long targeted.

Carmen fails to adapt to the world and society in which she lives. She worries about not having a partner. In a raffle he wins as a prize a week with all payment for two in Mar del Plata. She is willing not to go alone.

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After Miguel Gazzera's death, his granddaughter Florencia discovers that people outside her family know much more about his story than she does.

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The most transcendent and controversial event since the invention of the seventh art: the disappearance of photographic film. What for many people seems to be simply the result of technological evolution, brings with it paradoxes and contradictions that endanger photographic film heritage and accelerate its deterioration.

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Mar del Plata, Argentina, 2015. During the largest National Women's Meeting in history, the lives of two women intersect. Victoria arrives to file a complaint of child sexual abuse against a renowned judge, while Rosario returns to seek protection from him, her father. This is a story where memories, when they surface, give way to the harsh truth. Will Rosario manage to lift the veils and denounce her father, the powerful Judge García Avellaneda?

Documentary that gathers the testimonies of more than twenty contemporary Argentine film directors. Through interviews, filmmakers from different generations and tendencies reflect on the craft of directing, creative difficulties, and the challenges of the local industry. The diversity of voices ranges from established figures to representatives of the new Argentine cinema, offering a panorama of the different ways of conceiving and practicing filmmaking.

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A group of young actors attempts to recreate some of the key scenes that tell the story of the Manuel Rodriguez Patriotic Front, the guerrilla group created by the Chilean Communist Party, 10 years after the start of the dictatorship of the genocidal Augusto Pinochet in December 1983.

Haroldo Conti tells the story of himself. Through his literary stories, his voice rescued from archives, the fictional recreation of his anecdotes, and his characters, the film tells us about a man and his work. It is Haroldo Conti himself, that man who travels, a "homo viator," as he defined himself in the Latin he taught in schools, who guides us in this film through all his worlds: that of ideas, that of creation, that of affections. In all of them, one constant: a profound love for humanity and for life. Haroldo Conti, Homo Viator, knew how to live with intensity and conviction. But, above all, with joy.

Manuel lives with his father, Ricardo, on the family's hunting estate. Manu is a special boy with a strange connection to the mountains that makes him the best hunter in the area. But he no longer wants to kill. An accidental shooting that nearly kills his best friend, coupled with the suspicion that his father is a murderer, compels him to flee the estate to free himself. He soon learns that his unerring aim is the only thing that can prevent Ricardo from being killed.

A group of teenage swimmers prepares for a championship. Laura is the first of the group to awaken to her sexuality. Her friend Ana tries to accompany her in this complex process full of contradictions.

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