Victoria Maréchal

In the suburbs of Buenos Aires, Gabriel has just moved in with his colleague, Juan. Shy and reserved, Gabo is reluctant to follow Juan's wandering hands and meaningful looks. With a revolving door of beauties streaming out of Juan's bedroom, his machismo seems firmly in place. However, the attraction between the two men is undeniable.

In the glistening light of the vast Andean mountains lies the village of Contay, three hours away from the nearest bigger city. The myth here says that who dreams of snakes, will argue with their husband the next day. Dreaming of music, brings good news instead. This is the home of Elisa Taboada and her family. She is campaigning in the regional elections as a community speaker, aiming to bring more attention to women’s rights.

For Ababacar and Mbaye - two Senegalese immigrants who met and established a great friendship in Buenos Aires - the challenge goes beyond adapting to the customs and living conditions in Argentina, or dealing with the indifference and racism they suffer on a daily basis: both came to an instance of their lives in which they must define a course, and in turn accept that their identities and needs have become more complex. The decision to leave their country was driven by the urgent objective of financially supporting their families, but the stay in Buenos Aires crossed them with new people, new ways of seeing things, and even an economic situation different from that which they found at home. Their different ways of seeing things allow them to see in each other a different version of themselves.

In an Argentina divided between a deep conservatism and an unprecedented momentum in feminism, the film delves into the political journey and intimate lives of Claudia and Violeta. Trans women who identify as transvestites, the fight they lead with their comrades against the patriarchal violence is visceral and embodied. Convinced of their roles at the center of an ongoing revolution that intersects with so many struggles, in defiance of the old world they redouble their energy to invent a new present, to love and stay alive.

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Excited by the illusion of political and historical change, three filmmakers join the protests of the Chilean social explosion of 2019. There they meet Ettiene, a 7 year old boy, who is more afraid of fire and protests than of the police. Surprised, they meet him again to understand how he lives apart from what is happening. The next morning and after all the euphoria, the city becomes hostile showing the deep cracks that separate the country.

Two filmmaker friends reconnect through the stories of their abortions. They embark on a journey between Buenos Aires and northern Italy, driven by the need to overcome trauma. This trip brings them closer to other women, each with their own stories and experiences, but these stories encounter their own limitation: that of not being able to represent an experience. The adventure that began as a search for intimacy becomes a starting point for the imagination.

A lamp made in a family workshop in the suburbs unexpectedly appears in Happy Together. The granddaughter of the person who made it traces the object’s journey through family history and its journey to Wong Kar-wai’s film

In the shadow of her last harvest, a Chilean vineyard worker and her son, returning from Catalonia, transform filmmaking into an intimate ritual to inhabit their grief together and bid farewell to a place, a time, a summer and perhaps to who they once were.

Facing the sea, Tripoli and Lampedusa, synthesis images on one side and photographs on the other, how do these representations build our imagination?