Julián Larquier Tellarini

For over six years, Javier and Valeria have been trying to get pregnant. At work Javier is approached by Camila, a coworker, and tells him she is pregnant with his baby. In the following days, his relationship—indeed, his entire existence—starts to fall apart.

Over several days and nights, an actor and an actress read the correspondence between Torcuato and Kamala, the film director's parents, he from Argentina, and she from India. The letters, encompassing the decades from the 50s to the 70s, refer to love and idealism, record world travels, talk about socialism and psychoanalysis, about pain and broken dreams. Their reading reveals a relationship between the actors, with similarities and differences. Meanwhile, with his own daughter, the director sets about solving the puzzle of the family memory, an intimate twentieth-century tale.

Rodrigo is quite sure about his ability to seduce all women, and he never stays with anyone. Love doesn’t exist to him. In this, his game, he has faced some diffcult catches, but not impossible ones. Now he will meet Sol, and she will break all the rules that he has made up.

Rudy, son of victims of the dictatorship in Argentina, and Maru, daughter of the perpetrator, are inheritors of a tragic and bloody history that separates them, but the destiny seems to be determined to unite them.

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.

노벨상 수상자인 다니엘은 오만함이 하늘을 찌르는 저명한 소설가. 고향에서 수여하는 우등시민 초대를 받기 위해 그는 모든 일정을 뒤로 하고 수십년만에 아르헨티나의 작은 마을을 찾는다. 마을의 영웅이던 그는 곧 마을의 배신자로 낙인찍히는 위기를 맞게 되는데... [2016년 제21회 부산국제영화제]

예측불허의 끔찍한 재난, 학교를 둘러싼 기이한 괴담, 복수극, 살육, 스너프 필름에 이르는 다섯 가지의 도시 괴담이 현실로 벌어지고 아르헨티나의 수도인 부에노스아이레스는 살아있는 지옥이 된다. 한 정치인은 15명의 시민이 죽는 도시 비극의 책임에 대해서 공분을 사게 되고, 사람들은 각자의 내면에 잠들어 있던 악마성을 하나 둘 씩 꺼내어 보이게 되는데...

The mad half hour refers to a condition usually indoor house cats experience once a day. They are about expanding energy in one concentrated burst that goes from 15 to 30 minutes, without any apparent reason. The Mad Half Hour is an offbeat comedy following Juan (30) who is going through a period similar to the one of these cats.

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”.

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.

Love letters, ridiculous love letters, old letters from ridiculous lovers, and a pursuable girl. Then, there’s running in the swimming lessons, in college academies, in the empty lots of suburban Buenos Aires. Dedications, interviews, empty avenues, sketches, and militants. And in the end, two kids in the street, afar, screaming, and kissing.

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.

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.

Marco, Patricio and Lucrecia form a peculiar loving relationship. For Patricio this does not seem to be a problem; it is shown as a person willing to a fickle love. But Marco plays the role of the neurotic: he does not feel a taste in this triad, he chases the girl, questions his friend, bothers the relationship and shows his disagreement. This could go through a triangle to use, one more in the history of cinema. But sometimes the geometry breaks.

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.

A young man decides to self-examine. He escapes from school and meets two friends who do not know his plan. They spend the whole day wandering around the center of Buenos Aires. Finally, the young man leaves his friends in a train while they sleep. The young man, alone, wanders through the city through the night. Security cameras monitor the city, but the young man disappears.