Roman Kasseroller

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.

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.

A frustrated Jewish wedding cameraman falls in love with a klezmer clarinettist. To spend time with her, he fabricates a documentary project that takes him on a journey in search of the lost klezmer melodies safeguarded by the Romani of Eastern Europe.

Three brothers, hunters, and heavy metal fans struggle with their issues in the dense Argentinian Patagonia. Meanwhile, the neighboring river threatens their farm with a flooding that can ruin their harvest.

Ana Livia Plurabelle (30) has different sexual encounters that will make her realize something she hasn't thought about before: the possibility of making money with her body.

After her sister goes missing, Sarita, a working-class girl from Guatemala City, travels to the seaside town of Puerto Barrios to infiltrate a group of young gang members. As she risks her life to join the gang, Sarita becomes involved with her sister’s dangerous ex-boyfriend and gets closer to learning what happened to her sister.

In an era marked by the reign of liquid relationships, through apps and blind dates, Alejo seeks to fill his sentimental void by constantly changing sex partners.

A cat wandering among the pastures, the sparks that emerge among the red embers of a fire, a man walking under the shadow of high trees in the middle of a forest, a distant fire, the ghostly figure of firemen at night: these are some of the minimal postcards that make up the enormous beauty of the Manantiales mountains, in the outskirts of Córdoba, Argentina.

An aging, Argentine, Serge Gainsbourg wannabe struggles to deal with a career he can't seem to get on track, an affair he doesn't want, and a crime he didn't mean to commit.

Buildings are not supposed to move. But on Avenida Libertador 2050, a building moves and the ceiling shivers, causing a strange nausea that devours its residents. Those who live on the top are afraid they’ll fall, the ones who live beneath are afraid they’ll drown.

The financial problems of a Jewish community are a nightmare for their leader, Rabbi Aaron. Cornered and overwhelmed, Aaron tries a last resort: embark on a trip to the Far East to get donations.

Body-obsessed teenager Lucas and his mystically-inclined older sister, Gilda, unexpectedly become stranded when they travel to a nearly deserted coastal town to try to fulfill their dead mother's last wishes in whatever way they can.

Theo tries to reunite with his family. He rearranges his apartment and leaves everything ready for the return of his mother, who will be free again.

A girl dies in a provincial summer house and is buried by her family. By night a wild dog unearths the corpse and takes it to the woods. Under the shade of the trees, the girl wakes up and decides to return home accompanied by the dog.

Débora is 11 years old and is deaf. Facundo, her brother, is 18 and doesn't want her to grow up. Together, they have fun setting cars on fire while their father is away, until one day things slip out of control.

복음주의 기독교도인 알베르토는 아버지의 장례식에 참석하기 위해 고향으로 돌아왔다. 그는 고인을 추모하기 위해, 자신의 의지와 믿음에 반하는 행사에 참석하도록 강요받는 상황에 처해 있다. (2018년 제19회 전주국제영화제)

A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.

아르헨티나의 폐쇄적 부촌에서 벌어지는 상황을 보여주는 이 작품은 가정부로 일하는 벨렌의 시선을 통해 다가간다. 벨렌은 나체 클럽을 발견하게 되고, 그 모습을 통해 중산층 가족의 위기와 부조리함이 펼쳐진다. 대부분의 배우가 영화 내내 나체로 연기해야 하는 상황이었고, 실제 나체주의자들이 함께 촬영을 하여 현실과 영화의 경계를 넘나드는 과정도 흥미롭다. 이 작품은 아르헨티나 사회에 대한 우화이기도 하다. 곳곳에 경비시설을 갖춘 부촌과 나체주의자 클럽을 교차하면서 두 그룹 간의 간극을 통해 인간 사회 군상에 대한 질문을 던진다. 중산층의 삼엄함과 나체주의자들의 자유로움은 마치 동전의 양면처럼 한 사회를 구성하는 서로의 이면이다. 그 긴장감을 통해 루카스 발렌타 리너 감독은 집단을 이루고 있는 이데올로기의 허구성과 위선을 폭로해 간다.

Twelve year old Juana goes to a British school in the outskirts of Buenos Aires, where she fails both socially and academically. A week away from the exams that will determine her future in the institution, she is surrounded by the same routine; going to class and trying to pull her social life back together, with useless attempts in between. Juana goes through these strange days apparently feeling indifferent towards the situation.

In the company of housewives, professionals and a retired tennis instructor, Hernán is part of a middle-class community that is preparing for the eventual arrival of the end of the world at a holiday resort in the marshy Tigre delta.

Aldo is 55 years old and lives with Pablo, his older brother. From their home, they conduct a religious practice invented by their father and whose congregation meets mainly online. Aldo is tired of being a preacher, but doesn’t know how to say it.

A filmmaker meets her ex-boyfriend, who plays a role in her new film, in which the authenticity or falsity of a kiss in a gay scene is debated, with backstage included. Metacine or metagay? Gay cinema within cinema or cinema within gay cinema, variations of a daedalus of representations. "The current boyfriend" feeds on lateral humor, on the political of desire as a talk in the kitchen, on the flicker-free observation of who we are and what we pretend to be, as a nucleus that is reinterpreted with always different gestures, once as drama and another like comedy, almost without knowing which is appropriate.