Vladimir Durán

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

Ana Livia Plurabelle (30) has different sexual encounters that will make her realize something she hasn't thought about before: the possibility of making money with her body.

Silvia, a single mother and a lawyer, is implicated in a corruption scandal. But in addition to trouble at work, she is also facing a more crippling problem: her mother’s cancer has returned. While she is forced to face up to her mother’s inconceivable yet inescapable death, Silvia embarks on a love story, her first in many years.

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.

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.

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.

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.

It's Martin's Birthday. A confusing gift will make him wonder how the rest of the people see him.

Fragments of a Saturday winter day. The Vittenzein brothers are alone at their family house. Mateo stops by to pick up Bruno and Camilo and drive them to the country house where their mother awaits. A sudden break slam brings them into the intimacy of a waste land.

Fragments of a Saturday winter day. The Vittenzein brothers are alone at their family house. Mateo stops by to pick up Bruno and Camilo and drive them to the country house where their mother awaits. A sudden break slam brings them into the intimacy of a waste land.

Fragments of a Saturday winter day. The Vittenzein brothers are alone at their family house. Mateo stops by to pick up Bruno and Camilo and drive them to the country house where their mother awaits. A sudden break slam brings them into the intimacy of a waste land.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.