Francisco Lezama

Películas

Un movimiento extraño
Director
Buenos Aires, 2019. Lucrecia, who jobs as a museum security guard, foresees a sharp rise in the dollar’s value with her pendulum and falls in love with a currency exchange house employee.
Shakti
Assistant Director
Federico decide separarse de Magda pero Magda le gana de mano. Federico cae en un pozo depresivo. Sin embargo, su vida empieza a cambiar cuando encuentra en el congelador de su casa unos knishes de papa congelados que le dio su abuela unos meses antes de morir.
Dear Renzo
Writer
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.
Dear Renzo
Director
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.
La novia de Frankenstein
Editor
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
La novia de Frankenstein
Director of Photography
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
La novia de Frankenstein
Producer
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
La novia de Frankenstein
Screenplay
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
La novia de Frankenstein
Director
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
El novio actual
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.