Manuel de Andrés

A father and son, isolated in a dilapidated country house, try to survive a hellish summer. Between hunting days and campfire nights, the son begins to perceive a strange connection between his father and the nature that surrounds them. An ancestral secret is about to be revealed.

F는 방치된 가게와 아파트 들을 멋지게 약탈한, 두 명의 젊은 무정부주의자를 뒤따르기 시작한다. 세 사람은 시민 불복종 운동에 참여하며 무단침입이나 불법적 급습 행위를 벌이면서 가까워진다. 망명에 대한 열망과 희망찬 미래가 다른 곳에 있으리라는 기대가 F를 사로잡는다. 그들의 도시는 영원한 정체기에 빠져든 채 그 자체로 우울하면서도 기괴한 유물이 되어버렸다.

Vienna, 2019 – the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she’s talking to a brick wall. Moreover, she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.

마르코스는 야간응급병동의 베테랑 간호사로 수간호사 진급을 눈앞에 두고 있다. 하지만 그에게는 비밀이 하나 있다. 고통 속에 삶을 연명해나가는 환자들을 위해 몰래 안락사를 자행하고 있는 것. 신입간호사인 젊은 가브리엘이 마르코스에게 가깝게 다가오면서 아무도 모르는 그의 비밀은 마르코스를 점점 옥죄고 그는 가브리엘에 대한 뒷조사를 시작한다.

The irrepressible Ratones Paranoicos, Argentina's most enduring rock band, are featured in vintage concert and backstage footage as their story's told.

In the almost two-minute film AI, which Lucrecia Martel created at the Viennale’s invitation, a single shifty eye looks out from a heavily pixelated image; a mouth is vaguely visible and declares: “I am not completely like other people.” Is AI coming to life here, entering a world that’s still foreign to it and that crackles, scratches and echoes? And how does our view of this eerie image change, knowing that the pixels are superimposed on a historical recording from 1961 that documents the anamnesis of a catatonic schizophrenic?

In the almost two-minute film AI, which Lucrecia Martel created at the Viennale’s invitation, a single shifty eye looks out from a heavily pixelated image; a mouth is vaguely visible and declares: “I am not completely like other people.” Is AI coming to life here, entering a world that’s still foreign to it and that crackles, scratches and echoes? And how does our view of this eerie image change, knowing that the pixels are superimposed on a historical recording from 1961 that documents the anamnesis of a catatonic schizophrenic?

18세기 아순시온의 스페인 장교 자마는 새 부임지로의 발령을 간절히 기다리지만, 왕의 전갈은 도착할 기미가 없다. 안토니오 디 베네데토의 원작 소설을 아르헨티나의 여성 거장 감독 루크레시아 마르텔이 영화로 옮긴 작품. 감독 특유의 시적 화면과 실존에 대한 성찰이 돋보인다.

서른이 넘도록 어머니의 품에서 벗어나지 못한 남자, 다리오. 어떻게 해서라도 아이를 갖고 싶은 레즈비언 커플, 레나와 셀레스테. 어느 날, 클럽에서 처음 만난 세 사람. 셀레스테가 다리오에게 접근하면서 이들의 운명이 얽히기 시작한다.

독일 음악가 헬무트 라헨만은 안데르센의 동화 『성냥팔이 소녀』를 직접 각색한 오페라를 무대에 올리기 위해 부에노스아이레스에 오지만, 오케스트라단은 파업 중이다. 그럼에도 라헨만은 공연 준비를 강행한다. 다큐멘터리와 픽션을 오가며 불안정한 긴장감을 자아낸다. 비극적 결말을 맞는 안데르센의 동화와 역시 비극적인 운명을 가진 당나귀의 이야기(로베르 브레송의 영화 "당나귀 발타자르")가 교차하며 삶의 모순되고 비극적인 근원에 다가간다.

Since their parents split up, Sara and her younger sister live with their mother, whose new partner is a woman. Everyday life for the four of them is hardly any different than it is for other families. But not everyone sees it that way – Sara's father in particular has his doubts. As Sara’s 13th birthday approaches, she feels rather overwhelmed: her first crush, a body in the midst of changes and to top it off, conflicts over loyalty with her parents.

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...

Noticing that a storm is coming, Roque and Macarena return from an afternoon of fishing. In the darkness of the road, they discover a bonfire lit among the trees.

It tells the odyssey of Atilio and his granddaughter traveling to Buenos Aires, from Paraguay, his native country. The landscapes that run, the characters they encounter along the way, each with their own way of seeing the world.

Ulises wakes up one day and finds that his girlfriend, Alma, is missing. He embarks on an intense search that reveals hidden aspects of her life which connect to the time they spent together to lead Ulises to investigate a professor of hers and her obsession with a book by Borges. When Bianca, Alma's twin, shows up, circumstances escalate quickly to make Ulises commit a crime just so he can find Alma again.

Shelly, a young dancer who dreams of becoming a singer, and Jaqueline, an experienced singer who has had some successes and bitter the decline of her career, are partners in a brash band in a scenario that It mixes the romanticism and the sensuality of the Brazilian periphery. Inserted in the universe of show business, between nightclubs and local TV shows, they discover that everything is disposable, like success, love and other human relations. Together, they seem to form a single trajectory of life, where Shelly represents the past of Jaqueline, while this figure like the probable future of the colleague.

Shelly, a young dancer who dreams of becoming a singer, and Jaqueline, an experienced singer who has had some successes and bitter the decline of her career, are partners in a brash band in a scenario that It mixes the romanticism and the sensuality of the Brazilian periphery. Inserted in the universe of show business, between nightclubs and local TV shows, they discover that everything is disposable, like success, love and other human relations. Together, they seem to form a single trajectory of life, where Shelly represents the past of Jaqueline, while this figure like the probable future of the colleague.

A German family unravels as they are forced to abandon their farm in Entre Ríos, Argentina.