Albertina Carri

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

An introspection and a poetic about who we wanted to be and who we have been, crossed with the reality of what we are and with the utopia of what we will be. A mosaic composed from the creative and aesthetic freedom of each of the filmmakers who participate in this setting.

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper middle class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper middle class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

알베르티나 카리는 아르헨티나 마지막 군부 독재 시기에 실종된 반체제 지식인의 딸이다. 카리는 이 영화를 통해 부모님의 모습을 그리기보다는 돌이킬 수 없는 일을 재현하는 것이 불가능함을 보여준다.

알베르티나 카리는 아르헨티나 마지막 군부 독재 시기에 실종된 반체제 지식인의 딸이다. 카리는 이 영화를 통해 부모님의 모습을 그리기보다는 돌이킬 수 없는 일을 재현하는 것이 불가능함을 보여준다.

알베르티나 카리는 아르헨티나 마지막 군부 독재 시기에 실종된 반체제 지식인의 딸이다. 카리는 이 영화를 통해 부모님의 모습을 그리기보다는 돌이킬 수 없는 일을 재현하는 것이 불가능함을 보여준다.

Stop-motion animation featuring Ken and Barbie dolls. Engaging in sexual (and some rather kinky) activities. Also some violence. The plot evolves around troubles in their marriage, due to Ken being a jerk. Will Barbie find happiness?

Stop-motion animation featuring Ken and Barbie dolls. Engaging in sexual (and some rather kinky) activities. Also some violence. The plot evolves around troubles in their marriage, due to Ken being a jerk. Will Barbie find happiness?

Stop-motion animation featuring Ken and Barbie dolls. Engaging in sexual (and some rather kinky) activities. Also some violence. The plot evolves around troubles in their marriage, due to Ken being a jerk. Will Barbie find happiness?

Stop-motion animation featuring Ken and Barbie dolls. Engaging in sexual (and some rather kinky) activities. Also some violence. The plot evolves around troubles in their marriage, due to Ken being a jerk. Will Barbie find happiness?

Thirteen short films directed by thirteen directors, based on the recitals of Argentino en Vivo 2.

A noir vision of a paranoid and dangerous Buenos Aires where a group of diverse Porteños are fatefully linked by a brutal killing.

A noir vision of a paranoid and dangerous Buenos Aires where a group of diverse Porteños are fatefully linked by a brutal killing.

Aurora lives in the daily mix of furniture, norms and rules inherited from her parents from the 70s. A short film with still pictures and narration.

Leonor, a widow in a small South American town, gives birth to Charlotte, a dwarf. The mother not only provides a rich childhood for her daughter, she erases any clues her daughter might see that would lead her to think she is different (mother burns books such as "Snow White" and destroys lawn statues of gnomes). In short, she doesn't want to talk about it. The mother succeeds in creating a modern-day Rapunzel: Charlotte becomes an accomplished young woman who captures the heart of Ludovico. But then, the circus comes to town.