Julia Martínez Rubio

Mariel wants to play Isabella in Shakespeare’s “Measure for Measure”. With the support of Luciana, who is also an actress, she has already rehearsed the part. But during the audition, Mariel realises that Luciana is trying out for the same role.

Mario, a university professor, uses his research on the writer Ezequiel Martínez Estrada to escape from his past. Settled in Bahía Blanca, the new city seems to be the ideal place for him to forget, until a chance encounter with an old friend unleashes the worst of dangers.

Marcos is an experienced nurse. He works in the night shift of a provincial private clinic. He is applied and professional but has a secret: in some extreme cases he applies euthanasia. He'll soon meet someone that knows what he's doing.

While shooting some Hollywood images, a filmmaker meets a Mexican immigrant who works at the motel. Soon, Hollywood is left behind and the movie takes him to other cities, stories, and characters.

Former lovers randomly find each other, and start to catch up, walking in the Buenos Aires night.

Deep knowledge of a person can be overwhelming. Even in the most trivial situations it is possible to find peaks of tension that appear from the underground. Vidrios intends to explore the universe of interpersonal relationships through a series of scenes of isolated appearance, with anonymous characters that are constantly updated and dialogue with each other until they burst a moment in the absurd.

Julio starts a new job at a small bookstore. Little prudent, he handles with both things as if he knew them from always. This will complicate his great project: to make an apocalyptic photo-roman.

Wake up in the morning. He feels bad. He brushes his teeth after vomiting. Record the house reviewing drawings, a model and a written photo that makes him smile. He returns it to the cork of old familiar images. Make breakfast for two. Waits.

Several actresses get caught up in a web of romantic intrigue while performing in a production of Shakespeare's "Twelfth Night."

Delfina decides to spend with her two best friends, in her family’s manor house, her last day before getting married. In a sometimes violent, sensual or caring atmosphere, they share their doubts, their memories, their secrets, but also their bitterness. This intriguing title (literally Mares and Parrots) hides a subtle social unease within the young Buenos Aires bourgeoisie.

When a prominent researcher in the field of human memory returns home, he stumbles upon the fact that a man's past, as he remembers and tells it, is often nothing but fiction.

A woman who comes to transform the city. Two friends now at odds forever. A man who invades apartments to film women from afar. A writer who plagiarizes books and a translator who discovers it. A UFO epidemic in an unbearable summer.

The life of a man, the death of another.

A group of actors retire to an island in Tigre to rehearse William Shakespeare’s As You Like It and suddenly Luisa, who is playing Rosalinda, makes a bad decision.

A group of girls and boys in their twenties settle in a country house that seems completely isolated from civilization, invited by Helena, who plans something humiliating for one of the guests.

Four characters are looking for a man called Castro, but we don't know why. For some mysterious reason, Castro is running. He has left his life behind, and survives by hiding in a room in a small city. He is basically alone, but someone has appeared in his life, Celia. She is young, beautiful, and sometimes cruel.

A young Argentinian woman who works as a museum guide uses her passion - reading - as a means of expression to channel the emotional and working lives of those around her.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.