Rosario Bléfari

Lila and Marcela have always worked on the cleaning staff of a state office. They know its nooks and crannies better than anyone, and have found a way to support themselves - and a dream - running a clandestine kitchen in an abandoned corner of the building. But times change: a new director arrives, spouting cynical speeches full of clichés with a fistful of empty promises. The kitchen is closed and a wave of redundancies disrupts the precarious equilibrium in the office, making everyday tasks a struggle for survival.

In One Hundred Paths: Suárez. Second Part the director accompanies Gonzalo, Rosario, Fabio and Diego thorugh Europe. The approach to the private world of the band continues in the old continent, but the best thing about this follow-up is the contagious excitement of the group on tour.

Ten-year-old Axel lives with his mother and three sisters in a flat in Buenos Aires. They’d be a perfectly normal family if only the mother weren't imprisoned in one of the rooms.

Inès, a professional photographer, decides to complete a book she is working on before she gives birth to her first child. This photography project, related to the memories of her childhood, always brings her back to the same place: the family home in southern Argentina that shaped her youth and forged her character. It also contains the only photo Inès still has of her with her father, before he disappeared as a victim of the military dictatorship. This photo is the starting point of a jigsaw puzzle of fragmentary memories about the relationships Inès had with her mother and her brother.

From a screeching lo-fi sound to luminous pop songs; from a split with Juana La Loca to a Le Mans tribute EP; from a cassette tape with a red star in the groundbreaking film Rapado to the lead singer's main role in Silvia Prieto. In sum: from 1989 to 2001, Suárez rode the scene and stages of Argentine indie rock with great freedom, elegance and intelligence. Also during all those years, its members recorded on video many of its intimate moments and public tours. Blanco wisely sticks to organizing and polishing that analogic repertoire without adding anything else, and he lets Suárez dazzling mystery reveals itself slowly amidst jokes, music videos, dodgy video-camera effects, and lots and lots of other answering machines.

Sergio and his family work in an estate in Argentina’s northern region. When their employers aren't home, they occupy the main house and emulate the life of the owners. Then Pia, the eldest daughter of the owner, arrives at the estate with the intention of staying a few days until her father’s marriage...

During one hot summer day, little things happen to the visitors and workers of an old thermal resort in southern Chile. Julieta, Francisco, Isa, Rodrigo, Ignacio, Mariana, Muriel, Gabriela, Eliseo, Norma, Alejandra and Claudio experience the long vacation hours in nature, sleeping in the sun, learning how to drive, cleaning the house, kissing for the first time, swimming at night or just walking and talking, while the day slowly unravels into small fragments of happiness and discovery.

Boris is stunned when his girlfriend Ana asks for some time apart. He doesn't know why and she can't explain it. Some time can mean so many things. How much time apart? A week, a month, years? During this imprecise period of uncertainty, Boris is left at the mercy of chance. His life transforms into an erratic urban journey: moving into a transient hotel, buying a temperamental communist-era car, meeting up with a long-lost classmate, random encounters with other women and repeatedly trying to get back together with Ana.

Thirteen short films directed by thirteen directors, based on the recitals of Argentino en Vivo 2.

After her 27th birthday, Silvia Prieto decides to take charge of her life and make some changes. At the same time, she suddenly finds herself intertwined in the life of another woman who is also named Silvia Prieto.

After the theft of his motorcycle, Lucio bums aimlessly around Buenos Aires drifting from one arcade and record store to the next, indulging in short chats with friends and, more often, setting out onto the streets alone.

A viceroy and an archbishop take their posts in Mexico. A local nun, Sor Juana Inés de la Cruz (1651-1695), intrigues them. The viceroy and his wife find her brilliant and fascinating. The prelate finds her a symbol of European laxity. He engineers the election of a new abbess, severe and ascetic. The virreina visits Sor Juana often and inspires her to write passionate poetry that the archbishop finds scandalous. The viceroy protects her. After he is replaced and returns to Spain with his wife, Sor Juana faces envy and retribution. A bishop betrays her, her confessor humbles her. Plague, a tribunal, and her confession as "the worst of all" end the great poet's life.

Dreams and reality mix-up in the life of a middle class woman in his 20s who is depressed and distressed.

In a city of the too near future, a city designated for desolation, aggression, and political instability, Miguel Galvan (Hugo Soto) is shot accidentally during a demonstration. This time and space provides a back drop to an intriguing sequence of events where three characters try desperately to survive: the wounded Miguel, an antagonistic policeman (Juan Leyrado), and a foolish vigilante smartly acted by cult rock star Charly Garcia of Sui Generis and Serú Girán fame, who also composed the film's score.