After an accident, Ana needs some metal prosthetics in one of her forearms. During her winter vacation, she notices something strange—as though her arm were an antenna, she begins to receive messages in morse code. This happens every day, but the frequency is different. With a little help from her friends, the young woman spends her days trying to decipher the enigmatic code coming from her body. Is it a song? A call from unthought-of places? Is it a game? Or a simple problem with the prosthetics? As she did in her short films, Ingrid Pokropek relies on fiction to tackle the shortcomings of early adolescence and pay tribute to Buenos Aires City’s geography. In Los tonos mayores, the fantastic barges in little by little, with the same conviction Ana enters the adventure of her life.
When, at the beginning of Deus Irae, Father Javier stares at a crucifix, his expressions and his hands suggest that the nerves are consuming him. A flashback reveals that this priest devotes his life to visiting families that claim to have seen things that do not belong to this world and cleansing their homes from the demons that try to possess them. But, upon returning to those houses, he notices that the evidence is always destroyed. This way, he discovers that a clan is after him, and must decide whether to hide from them or join them. In times when horror cinema tends to fall into the hands of directors that seek to build narratives that are introspective and close to reality, Pedro Cristiani goes back to old-school horror, where gore and the physical experience are above any other kind of feeling. A cinema that places the camera in front of the faces of the bloodiest demons and, instead of giving logic to them, chooses to face them whatever the cost.
From the meeting between Armando Bó and Isabel Sarli, and from the sperm dragged by the force of the water from the Iguazú falls, a girl emerges with no identity or memory who will have to face a nightmarish world with the only tool of a limitless desire that it will burn everything.
The maximum nonsense of life plays with the feelings of the owner and the employees of a tennis complex.
Veterinario
Park Ranger Pablo Silva remakes his life in his new destination, a forgotten and troubled place that few want to go to, the Pereyra Iraola Park. Soon, under an apparent tranquility, he discovers a network of poachers, traffc and hoaxes. His old hunter instinct will arise. He can hide from everyone, except himself.
Francisco Pascacio Moreno
Escape from Patagonia is a gaucho-western film set in the tumultuous Patagonia of late nineteenth century. It's a story of survival, based on real facts from the personal diary of the Argentinian pioneer Francisco P. Moreno.
