Mercedes Tennina

Lixue doesn’t ask herself if she likes Recife. She certainly doesn’t want to ask whether her new city likes her, after being sent there to live with her aunt. Aunt Lili owns an emporium of shops for Chinese import products and lives with her family and her workers on the 22nd floor of an exclusive apartment building. Much to the disapproval of the upper-class Brazilian landlords, who think the Chinese immigrants don’t belong in the tower. When Lixue disappears from the city, Ah arrives on the scene: the first tourist in Recife in years.

In his previous films, Hacerme feriante (2010) and Embodied Letters (2015), Julián D’Angiolillo managed to go deep inside two universes that, even though they take place in front of everyone, remained invisible and inscrutable, as though they were subterranean—that of La Salada fair and of the authors of political graffiti in walls. For Ongoing Cave, his third work, the director goes back underground, this time in a literal manner, in order to reveal the mysteries of speleology, the science that studies caves and caverns. Italy, Slovenia, Cuba; antiwar bunkers; an exploring, revolutionary ballerina; an electronic party in which the stalactites and stalagmites dance under the flashlights. Everything is part of the ecosystem of tunnels and people that D’Angiolillo connects on screen, through images in which what lies still comes to life.

This is not exactly a biopic about the famous comedian, champion of prank calls; is a film about Jorge, a clumsy and shy office worker who stutters when speaking in public and doesn't know how to approach the girl he likes. But Jorge is also, as those who know him well know, a faithful and very funny friend. And when one day, by chance, he ends up being the subject of a hypnosis session, he discovers that he has a new ability: to pick up the phone and become the irreverent Doctor Tangalanga to make those who need him laugh.

Chile, 1976. Carmen heads off to her beach house to supervise its renovation. Her husband, children and grandchildren come back and forth during the winter vacation. When the family priest asks her to take care of a young man he is sheltering in secret, Carmen steps onto unexplored territories, away from the quiet life she is used to.

1985年にアルゼンチンで実際に行われた軍事独裁政権に対する裁判を基にした作品。フリオ・ストラセラ検事、ルイス・モレノ・オカンポ副検事、そして法を信じる若者たちが一丸となり、強大な相手との裁判に挑む。クーデターで発足したアルゼンチンの軍事独裁政権は国民に過剰な弾圧を行った。その犠牲者たちに正義をもたらすため、ストラセラ検事たちは限られた準備時間の中で、脅しや困難に屈せず、軍事独裁政権の幹部らの責任を追及していく。

A symphony of the city in the heights, the illness of a worker, the nightmare and his redemption.

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.

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.

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.

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.

Romina returns to her roots to rediscover who she is. After the first overwhelming years as a mother, it's as if the mist starts to rise: she's a little too old for disco parties and hanging round with twenty-somethings, but still young enough to fantasise about others. Actress Romina Paula points the camera at herself, her son and her mother in this intriguing mixture of documentary and fiction.

While a rumor about the presence of sharks in a small beach town distracts residents, 14-year-old Rosina begins to feel an instinct to shorten the distance between her body and Joselo's.

As a child, Lucas falls in love with Ana. His story is truncated: she moves away and he loses track of her. Today Lucas does crossword puzzles and has almost zero love-sexual life. Meanwhile, his friend Santiago has a blind date with Verónica that ends after a few seconds. Verónica's neighbor is in a secret and quite toxic relationship.

Camila, a young Argentine theater director, travels from Buenos Aires to New York to attend an artistic residency to develop a Spanish translation of Shakespeare's "A Midsummer Night's Dream." Upon her arrival, she begins to receive a series of mysterious postcards which set her down a winding path through her past and towards her future.

Camila, a young Argentine theater director, travels from Buenos Aires to New York to attend an artistic residency to develop a Spanish translation of Shakespeare's "A Midsummer Night's Dream." Upon her arrival, she begins to receive a series of mysterious postcards which set her down a winding path through her past and towards her future.

Two women meet for a job interview that spills over into an intimate dialogue that encompasses their secret loves, fears, and dreams. Filmed entirely in a single shot and over the course of a single conversation, this one-of-a-kind indie won Best Argentine Film and Best Argentine Director at the 2013 Mar del Plata Film Festival.

A year after his father’s death, Victor returns to Buenos Aires in order to reconquer the life he was forced to abandon. He brings a new project with him for his former theater company: a radio-play of Shakespeare’s “Love’s Labour’s Lost”.

Film in two cities divided by one river: Buenos Aires, Montevideo. Two cities divided by one story: the death of Francisco. One death divided in two parts: an investigation, an escape.

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

In the garden of a provincial summer house, a series of operations is carried out, involving a man, a woman and a group of individuals with certain convictions.

In 1971, the graphic and advertising artist Juan Fresán set out to film the story of Orélie Antoine de Tounens, the delirious Frenchman who 100 years earlier had proclaimed himself ‘King of Patagonia and Araucanía’, with his own constitution, currency and ministers. The film, titled "New France," was left unfinished, first due to lack of funds and then because its author had to go into exile. If the story is familiar to many today, this is because in the '80s Carlos Sorín made' The King's movie ', inspired by that frustrated shoot, in which he had worked as a cinematographer. In 2004, Fresán contacted Turturro to help him rescue the preserved film. Fresán died in that same year, but Turturro decided to retake the trace of that truncated film, exhuming unpublished materials, returning to their original settings and gathering testimonies, to illuminate the two stories - one within the other - that make up this true story, more strange and fascinating than any fiction.

”(…) Always green, up to 20 meters high. Right trunk, dark cut, slightly split, thin; rounded, broad, dense, dark, bright green, grayish or blackish crown. It has simple, persistent, hard leaves, with various shapes, ovate or lanceolate, 5 centimeters long ”.