Vera Czemerinski

Anthology series, in which every episode introduces fictionalized versions of real cases about women who, for different reasons, ended up committing murder.

A woman's voice says she was wife to Renzo Franchi and Carlos Gardel (1890-1935), Argentina's great tango singer. People say she's crazy. Her story unfolds. Buenos Aires, 1933: Juana Romero, a seamstress who lives for the music of Gardel, dumps her boyfriend Gustavo for Renzo, a singer who looks like Gardel. She insists that his trio performs Gardel's tangos, which leads to Renzo recording a Ford commercial when Gardel himself is overbooked. The trio, with Joanna in tow, goes on an ill-fated tour of points north. The couple breaks up: she goes home and he tries to get to New York. Fate steps in, and once again he's called upon to pose as Gardel. Then, legend and a bracelet take over. Written by

A young doctor recently received must face the difficulties of his profession in a public hospital, proposing to make true the axiom learned in the faculty "you can not always be cured, but you must know how to care."

Carmelo, who is 30-years old and extremely shy, finds it difficult to reveal his innermost feelings to Verónica, his co-worker. Carmelo's world collapses when he finds out that she intends to get married soon. Accidentally, she spots him demonstrating in a gay rally where he becomes a leader of that cause. Of course, Verónica assumes that Carmelo is gay, and he takes adv antage of this misunderstanding.

Buenos Aires, 1955. One of a family of Sicilian immigrants, the adolescent Laura is on the threshold of adulthood. Her father Francesco Lojacono, is a humble tailor whose relationship with his daughter is one of extreme conflict. As Laura becomes increasingly emancipated in Argentinian (and therefore American) fashion, her father feels personally betrayed.

Based on the lives of four boys, all of different social classes and psychological makeup, this film tries to reflect through them the political history of Argentina during the years leading up to the Malvinas War.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.

Bruno is 33 years old, he is unemployed by choice and has entered a kind of paralysis that blocks everything: lost and with no certain destination, he wanders immersed in an indefinite void, a situation in which his enthusiasm for things has also fallen. and the people. Isabel's ghostly appearances in his life mark the three unique nights in which the film takes place.

Celina, a young woman dedicated to her children and her home, is going through a marital crisis when she meets Vito, a drug-addicted teenager from the neighborhood whose greatest aspiration is to play soccer on a professional team.

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