Constanza Sanz Palacios

Tania learns that her grandmother spent the last years of her life in the loving company of an alien. Together with two friends, she travels through rural Argentina to bring the creature back to its place of origin.

Two women who have spent their whole lives together must deal with the illness affecting one of them. The sick woman decides not to have treatment and they move into a cabin in the woods to wait for the day that death will come into their lives. The situation sees the resurfacing of the love that time had buried under the routine. Gradually their relationship will strengthen as death bides its time outside the cabin.

Follows a man as he silently goes through the desperation of a break-up. He aimlessly wanders the streets, meeting the night people of Buenos Aires; loners, thieves, fugitives, homeless, suicides, lovers and the ghost of the lost lover.

Are words, photographs and speeches sufficient means for describing and communicating a complex, harsh, unmanageable reality? These unsolved questions pursue Cassandra during her trip through the impenetrable Chaco as chronicler of a means of communication, her first job after graduating from literature school. The unknown reality of native peoples who live in the Chaco communities, their beautiful and uncomprehensive languages and their dilemmas facing an economy which excludes them, are part of a trip in which Cassandra finds an inhabitable world within her status as foreigner. Her visions start merging with the cosmovision of ancient inhabitants until she becomes part of the enigma herself.

For ten years, from December 1961 to November 1971, Buenos Aires was a place where contemporary Latin American music changed forever. Young composers from all over the Americas came to Buenos Aires on scholarships to work for two years in a laboratory: the Latin American Center for Advanced Musical Studies at the Di Tella Institute. Half a century later, they returned to Buenos Aires, with some unfinished business.

After the death of his father, Eduardo Crespo embarks on a journey to film a movie as they would have done together. A film about Crespo, the town where they come from, poultry farming, and the relationship the father and son used to have. Now that the main character is no longer there, the film travels around the same places. Trying to put together, through the town collective memories and a personal memory, in order to reconstruct from all these details, the figure of that father who is not there anymore.

The path of a man to restart his life after a personal tragedy that leads him to leave the city and move to an inhospitable place that allows him to be reborn.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

A film portrait of Argentinian pianist Margarita Fernández. Medium makes her visible as a mediator, building bridges between past and present, different generations, scores and music, sounds and images, her own art and that of cinema.

No description available.

Jack Fuchs is one of the last Holocaust survivors who currently lives in Buenos Aires. With a serene face, relaxed tone and intelligent humor, it is difficult to connect this Pole with that man who was imprisoned for years in concentration camps, including Auschwitz, and who lost his entire family in World War II. Despite the pain, and after 40 years of silence, Jack offers talks and conferences, receives visitors and cooks for his family and friends. Using animation and images filmed by Fuchs himself as resources, the new documentary by Tomás Lipgot composes the portrait of a survivor of the Nazi genocide who, at almost ninety years old, surprises with his lucidity and enchantment.

The Island is a real territory, as well as a metaphorical one, a synthesis of the country and of civilization, of progress and injustice. An intensive expression of the human effort to overcome adversity.

During the last military dictatorship, the secondary school sank into a fog of silences and complicities; and in that fog, the collective dream of many students was also lost. 1978, the perfect reminder of high school is the gymnastics playground and the Physical Education teacher. The Green Team was formed with those of us who didn't make the normal teams: Cristina, Elvira and myself. We were the first litter of young people without collective projects that followed the genocide, the design teens that the military longed for. Do we belong to a generation? Or did we just come later?

No description available.