Javier Pistani

A medieval heresy and the first Protestant church in history, the Waldenses are both an 850-year-old peasant community and a current that in recent decades has challenged the Vatican on issues such as gay marriage, euthanasia and abortion.

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A documentary that explores the uniqueness of its characters, Chinese migrants from several generations living in Argentina. Stories such as that of Gustavo Ng, a journalist active in the bilateral political conversation, or Federico Chang, who is training to become a professional soccer player.

In 1969, the Epstein brothers founded a music house in the heart of downtown Buenos Aires. There they offered the best imported records and it soon became a sanctuary. Musicians like Claudio Gabis, Nito Mestre, Charly García, Andrés Calamaro, agree that it was the place of freedom and inspiration that they so needed. It was the time when the avant-garde of the Di Tella Institute was nourished by the incipient rock and art, causing an explosion in the middle of a society isolated and lethargic by the repressive state apparatus. El Agujerito tells the story of this iconic record store through archival material and testimonies.

Clarita is 13 years old and lives in Rosario with her parents and sisters. She has an unusual curiosity and a defining passion: astronomy.

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Three women turn the camera into a tool for expression and play: from the VHS recordings of the ‘80s to the rise of TikTok, the documentary explores how their videos transcend the everyday, reinventing worlds and sharing creativity.

Una película de gente que mira películas takes place in a video store in Buenos Aires, where a group of clientes shoots a film, so they can quit being spectators and became filmmakers. In the voices of this seven characters, the film explores the different possibilities of the seventh art in order to reflect in visual terms and stands as a symbolic construction of reality.

This film was created from documentary footage shot across different places and moments in time. Filmed over the course of seven years and assembled during three years in search of meaning, the film reflects on the relationship between events that, at first glance, seem unrelated. Yet, when brought together within the same timeline, a sense begins to emerge — one that appears to unfold across space and time.

Moacir has died, but he’s able to live in images and in Tomás Lipgot’s heart. The director cannot abandon his unforgettable character yet, and so he embarks on a farewell that is also some sort of personal journal made with all the warmth and care in the world.

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Gavilán finds a photo that compromises an important businessman, tries to blackmail him but he defends himself with his thugs.

Death may be the only certainty human beings, but what is it like to assume it firsthand, how to imagine it, and decode its meaning when it gets closer. SIN is a documentary essay on transcendence and human dignity.