Aballay was a bad tempered gaucho. After killing a man, the terrified look of the victim's son raised his consciousness about his savagery. Years go by, that kid's look doesn't leave him. Aballay knows that the kid will look for him.
In 1875 Argentina, after killing a man, a gaucho is sentenced to harsh army duty but he deserts the army and becomes a bandit leader.
ブロンドの巻き毛に透き通る瞳、艶やかに濡れた瞳、磁器のように滑らかな白い肌―。神様が愛をこめて創ったとしか思えない美しすぎる17歳の少年、カルリートス。彼は欲しい物は何でも手に入れ、目障りな者は誰でも殺す。息をするように、ダンスを踊るように、ナチュラルに優雅に。やがて新しい学校で会った、荒々しい魅力を放つラモンと意気投合したカルリートスは、二人で様々な犯罪に手を染めていく。だが、カルリートスは、どんなに悪事を重ねても満たされない想いに気づき始める―。
1960年、イスラエル諜報特務庁の諜報員たちはある重要任務につく。それは、悪名高いナチスの戦犯アドルフ・アイヒマンを捕らえること。史実に基づくドラマ。
香港映画界の鬼才、ウォン・カーウァイ監督が男同士の切ない愛を描いた恋愛ドラマ。惹かれ合いながらも、傷つける事しかできない男と男の刹那的な愛を綴ってゆく。徹底的に突き放した視点で彼等を捉える事で、より深い感情の揺れ動きを捉える手腕は流石。またアルゼンチンの雄大な自然美や、アストル・ピアソラの切ないメロディが映画を効果的に彩る。トニー・レオン、レスリーチャン共演。南米アルゼンチンへとやってきた、ウィンとファイ。幾度となく別れを繰り返してきた2人は、ここでも些細な諍いを繰り返し別れてしまう。そして、ファイが働くタンゴ・バーで再会を果たすが...。
A retired legal counselor writes a novel hoping to find closure for one of his past unresolved homicide cases and for his unreciprocated love with his superior - both of which still haunt him decades later.
インディオに布教するため、南米奥地へとやって来たイエズス会の神父ガブリエル。だが、ポルトガル政府もその地を狙っていた……。出演はロバート・デ・ニーロ、ジェレミー・アイアンズら。
Gabriel rents a room in Juan’s House. They work together in a Woodwork place. Gabriel is a very quiet guy and has a little daughter. Juan is a party boy who has a lots of girls around. Inadvertently the sexual tension starts to grow between them. It opens a new hidden forbidden world they have to deal with.
In 1968, Donald Crowhurst, an amateur sailor, endangers the fate of his family and business, and his own life, blinded by his ambition to compete in the Sunday Times Golden Globe Race, attempting to become the first person in history to single-handedly circumnavigate the world without making any stopover.
1979年、父の教えである質素倹約を掲げる保守党のマーガレット・サッチャーが女性初のイギリス首相となる。“鉄の女”の異名を取るサッチャーは、財政赤字を解決し、フォークランド紛争に勝利し、国民から絶大なる支持を得ていた。しかし、彼女には誰にも見せていない孤独な別の顔があった。
A gambler discovers an old flame while in Argentina, but she's married to his new boss.
Police commissioner Funes and three researchers of supernatural phenomena investigate inexplicable events that are occurring in the suburbs of Buenos Aires.
In Argentina, between 1982 and 1985, the Puccios, a well-established family of San Isidro, an upper-class suburb of Buenos Aires, kidnap several people and hold them as hostages for a ransom.
The investigation about an alleged international spy after the Nazi refugees in Argentina gives way to a plot that expands, becomes delirious and branches off. A mockumentary that has, at its center, an elusive woman whose trail can be traced in the most emphatic convulsions of the 20th century.
医学生のエルネストは、親友アルベルトとともに中古バイクで南米大陸縦断1万キロの旅に出た。やがて彼はラテン・アメリカの真の姿に気づいて……。革命家チェ・ゲバラの青春時代をたどった注目作。
The title Good Light, Good Air is oddly paradoxical. Keenly working at the point where his artistic identity and persistent attention on modern Korean history meet, director Im in this film focused on where the history of oppression and struggle intersect between Gwangju and Buenos Aires. In both cities, a great number of people who fought against the dictatorship were slaughtered and disappeared. The people of both societies still live with that trauma. When the testimonies of the victims of the two cities cross over, the film gives us chills as the eerie history of the two is very similar. Through Good Light, Good Air, director Im asks us how we will remember the past from where we stand right now.
A disenfranchised 16-year-old girl connects to an older man on the internet and after a brief one-sided affair descends into obsession and anorexia.
南米アルゼンチンを旅行中のエリーとステファニーは、退屈なツアーを脱け出し単独行動を取ることに。地元の少女が行方不明になったと噂のアレマナという町を散策にするが、大げんかの果てにエリーが姿を消してしまう。残されたステファニーはエリーに危険が迫っていることに気づくのだが…。
A Hollywood actor grows tired of making the same corporate movies, so he moves to Argentina to find more experimental and meaningful work.
The language that is born from the intersection of cultures, is a pretext to speak of the genesis of Latin America. A road movie that does not seek an answer on the way, but rather to break all possible certainties of what it means to exist at the edges of cultural definitions.
