Jerónimo Quevedo

Henrique lives alone in the mountains in Portugal. Having his children been taken away by the social services, one day he searches for the psychologist in charge of the process to get some sort of vengeance. From then on, he hides in the forest for several days, trying nothing but to survive.

Federico, in his mid-20s, lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend. He fears hurting her. However, she is laid-back, feisty and not even close to feeling hurt. He begins obsessing over her unexpected reaction—but then he meets someone else.

In the Smug art world, innocence perishes. This is the discovery experienced firsthands by Penelope, a young woman who, after embarking on a series of insignificant relationships, arrives at a field of new experiences, some sort of moral abyss she will find herself trapped in more and more.

Two young Argentines, brought together by chance, wander the streets of New York City, increasingly lost in a maze of currency exchange, translation problems, religious vocation and nocturnal flirtation.

At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.

A filmmaker meets her ex-boyfriend, who plays a role in her new film, in which the authenticity or falsity of a kiss in a gay scene is debated, with backstage included. Metacine or metagay? Gay cinema within cinema or cinema within gay cinema, variations of a daedalus of representations. "The current boyfriend" feeds on lateral humor, on the political of desire as a talk in the kitchen, on the flicker-free observation of who we are and what we pretend to be, as a nucleus that is reinterpreted with always different gestures, once as drama and another like comedy, almost without knowing which is appropriate.

A filmmaker meets her ex-boyfriend, who plays a role in her new film, in which the authenticity or falsity of a kiss in a gay scene is debated, with backstage included. Metacine or metagay? Gay cinema within cinema or cinema within gay cinema, variations of a daedalus of representations. "The current boyfriend" feeds on lateral humor, on the political of desire as a talk in the kitchen, on the flicker-free observation of who we are and what we pretend to be, as a nucleus that is reinterpreted with always different gestures, once as drama and another like comedy, almost without knowing which is appropriate.

A filmmaker meets her ex-boyfriend, who plays a role in her new film, in which the authenticity or falsity of a kiss in a gay scene is debated, with backstage included. Metacine or metagay? Gay cinema within cinema or cinema within gay cinema, variations of a daedalus of representations. "The current boyfriend" feeds on lateral humor, on the political of desire as a talk in the kitchen, on the flicker-free observation of who we are and what we pretend to be, as a nucleus that is reinterpreted with always different gestures, once as drama and another like comedy, almost without knowing which is appropriate.

Tarzán kidnaps Miss Chile ‘85: King of the jungle and maximum exponent of the anti-Pinochet patriotic command “Manuel Rodríguez”

Ulises wakes up one day and finds that his girlfriend, Alma, is missing. He embarks on an intense search that reveals hidden aspects of her life which connect to the time they spent together to lead Ulises to investigate a professor of hers and her obsession with a book by Borges. When Bianca, Alma's twin, shows up, circumstances escalate quickly to make Ulises commit a crime just so he can find Alma again.

Love letters, ridiculous love letters, old letters from ridiculous lovers, and a pursuable girl. Then, there’s running in the swimming lessons, in college academies, in the empty lots of suburban Buenos Aires. Dedications, interviews, empty avenues, sketches, and militants. And in the end, two kids in the street, afar, screaming, and kissing.

Love letters, ridiculous love letters, old letters from ridiculous lovers, and a pursuable girl. Then, there’s running in the swimming lessons, in college academies, in the empty lots of suburban Buenos Aires. Dedications, interviews, empty avenues, sketches, and militants. And in the end, two kids in the street, afar, screaming, and kissing.

A couple of ghosts spend their leisure hours playing in the fields, enjoying nature and the eternal words that Rainer Maria Rilke wrote over a century ago to a young poet. The film was shot with a photo camera.

Sometimes we find ourselves walking, talking or simply looking at things. That is what the protagonists of this film do. However, inside this mystery of life, we don’t know who they are or what they do. Teddy Williams builds yet again a dense and fantasmatic universe where breezes rhyme with vacancies and to the verb to be has its full double meaning. (M. V.)

The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.