Ingrid Pokropek

Pablo and Florencia work on Florida Street, the economic and tourist epicentre of Buenos Aires. Economic difficulties affect their life together. Pablo, in order to survive, begins to clandestinely smuggle dollars in the street. Taking advantage of the imminence of a currency crisis they will try to strike the blow that will take them out from the street once and for all.

30 year-old Pablo has a room for rent in his apartment. 26 year-old Francisco is looking to move out and share rent. Two mediocre lives cross paths, and a strange bond is born.

What seemed like just another ordinary, unbearable commute will turn into a decisive debate for Rubén with the least likely of his companions.

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

Ana introduces Ezequiel, her new boyfriend, to her parents, in a cabin in the middle of the woods on Christmas Eve. Ezequiel goes into the woods to look for firewood, and when he returns, she notices a change in him that raises questions.

Joaquín has the power to charge cell phones or supply electricity to any device with the energy of his own body, so he takes advantage of it to make a few pesos in a city resigned to scheduled power outages. A laconic and refined comedy, touched by the grace of the extraordinary.

A girl from Argentina writes a diary from Beijing. At the same time, she writes another diary--one invented--of what she would be doing if she were in Buenos Aires. Both diaries overlap while the girl, in Beijing, tries to find Shendy Wu, her best friend of childhood,a Chinese girl who lived in Buenos Aires until the age of five, before turning to China.

An agoraphobic musician, locked up in his home, begins to live with a shadow cast on his wall; a shadow that has a life of its own. Meanwhile, between jobs, music, scripts, gymnasts and volleyball matches, the musician’s friends go on with their lives during the beginning of autumn in Buenos Aires.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

A young man travels to the Andean mountains to understand the origin of man and the reason of his existence.

It’s winter holidays and fourteen-year-old Ana discovers that the metal plate she has in her arm from an accident she suffered as a child is now receiving a strange message in Morse code.

Five strangers have the same dream: a room, a tree, a dance, a secret meeting, and a snake.

A boy tells a movie to a girl. With his exaggerated, absurd and at times incomplete narration, the boy creates a film that will finally take its own autonomy.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

A poet dies and another one, younger, feels an obligation to promote her work. She is joined by a team of women filmmakers. The film begins with this unusual triangle but, interestingly, it grows into something more complex and subtle than a traditional research project.

"Lexter can be defined in a few words: son of a bitch" says Sebastián Wainraich while remembering the protagonist of this generational comedy: a worn-out radio host whose glory days are getting far and far behind. Filtering through the false documentary tone (Clemente Cancela, Sebastián De Caro, and other radio people give their testimonies, which are often filled with admiration) we learn the story of a chance encounter between Lexter and Blas, a communication student who stalks his idol in order to write his graduation paper, and unwillingly stirs up a few ghosts from the past.

A group of friendly characters get tangled in the streets of Buenos Aires between jobs, infidelities, plays, books and musical instruments. A young director takes refuge in movie theaters and declares a sudden muteness. Despite his own and other people's pressures, he refuses to direct a script that he hates. In the end, he makes an unexpected decision.

Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.

After a hopeless session in the boxing ring, lusterless Hochman joins an impromptu date with a young woman, with whom he has far more in common than he at first realizes.

The theatre as a courtroom, the courtroom as a theatre. Alejo Moguillansky’s film draws loosely on Raúl Quirós Molina’s El pan y la sal (The Bread and the Salt), a 2015 verbatim theatre piece compiled from the testimonies provided during the 2012 trial of Judge Baltasar Garzon, for investigating the forced disappearances of the Spanish Civil War and the Franco regime. Juxtaposing the testimonies of the relatives of those who lost loved ones with references to Argentina’s and Chile’s recent dictatorships, this film explores issues around international law and forced disappearance - tracing a line between Francisco Franco, Augusto Pinochet and Jorge Videla’s Military Junta: Garzón has investigated Argentine torturers and criminal perpetrators and had Pinochet arrested in London in 1998 for crimes against humanity.