Iván Gierasinchuk

"마법". 마누엘은 펠리페가 나오는 꿈을 꾸기 시작하고, 꿈결에 항상 같은 단어를 중얼거린다. 해변가의 작은 마을에 사는 마누엘은 그의 친구들과 결성한 밴드에서 베이시스트를 맡고 있다. 어렸을 때부터 가장 각별한 사이였던 펠리페와 함께 곡을 써 내려가면서, 마누엘은 자신이 펠리페와 어떤 관계를 원하고 있는 것인지 고민한다. 두 소년들의 의미 모를 질문들과 노랫말 사이에 흘러들어오는 긴장감이 아르헨티나의 바닷가 위에 펼쳐진다. 주목받는 대신 조용히 무대 구석을 지키는 베이시스트처럼, '퀴어'하기엔 너무 내성적이었던 당신에게 바칩니다. 2022 시애틀국제영화제 이베로 아메리칸 경쟁부문 심사위원대상 수상.

Stella and her mother Clota must travel from Junín, where they live, to the town of Costa Bonita, in Necochea, to see some apartments that Stella's father left her. This will become a nuisance for Stella, since her mother is someone difficult to deal with: she complains, she is afraid of everything, she says hurtful things and she keeps remembering the past. Paula Hernández's new film narrates the journey by bus of these two characters, a simple premise for a film almost always in tension as its two protagonists, brilliantly played by Valeria Lois and Rita Cortese. The only respite for poor Stella, and for the film itself, are conversations she has with Primo (Sergio Prina), one of the bus drivers, moments of calm amidst so much storm that, later on, will become literal.

Without a doubt, Angélica is having a crisis. Her mother died recently, she has to empty out her childhood home because it is going to be demolished, she doesn’t seem to have gotten over her split with her ex, and she is about to turn 40. Without any idea about how to deal with any of these things, she escapes to the past: she secretly hides in her childhood home and, while the walls fall around her, reality becomes hazy. Hidden in her house, that is both a shelter and a trap, bit by bit Angélica loses herself, fusing with her mother. Delfina Castagnino creates an elliptical and sinister tale, sowed with disturbing sounds and shadows, a film in which a framing, a musical note or a camera movement can transform peeling wallpaper into a threat, or the projection of a slide image into a ghost. And so what could be a family drama becomes a psychological thriller: Angélica turns mourning into a tale of horror.

루이사는 십대가 된 딸 아나가 걱정스럽다. 기념일을 축하하기 위해 온 가족이 모인 집에서 사춘기에 접어든 아나가 몇 번이나 잠든 채 벌거벗고 돌아다니는 몽유병 증세를 보였기 때문이다. 가족 사이에 흥분이 점점 고조되고 비밀이 하나씩 드러날수록 긴장감이 더욱 증폭된다.

Everybody has a mother. But still, motherhood remains a state filled with silences. Between society’s mandate to be a ‘good mother’ —always patient, caring and happy— and the private reality of mothers around the world, a huge void in understanding remains. Aiming to break this silence through candid interviews with mothers of all backgrounds and generations in Latin America, Malamadre narrates the untold story of motherhood, from the mothers’ point of view.

Unable to have kids of their own, Cecilia and Diego get a call from the adoption agency they registered to, some time ago. The sudden arrival of Joel, a 9 year old with a very hard backstory, will change the course of their lives.

A rock concert, the irruption of the police, four friends forced to flee quickly and forget their backpack there. Friendship and adolescence combined as one, the future less than a time to travel rather than a space (a city) to discover.

After a long period of absence, Rina returns to her island deep in the Tigre river Delta. There she spent a large part of her life and raised her son. Now she wants to recover her home and return there with Facundo, who also left the island. Both, mother and son, will learn that nothing is like it was. Machines on the river are about to destroy everything. A girl is lost in the forest. The water is rising.

A legend of Argentine rock travels to Iquitos to find an old Healer and participate in his Ayahuasca ceremony. You will have to go through the jungle and your own ghosts, on your way to healing.

In 1952, Argentina's beloved First Lady, Eva Perón, died of cancer at the age of thirty-three. A renowned embalmer was commissioned by the grieving Juan Perón to preserve her body for display, and Argentines flocked to be near "Evita". Three years later, when his government was overthrown by a military coup, Perón fled the country before he could make arrangements for the transportation of his wife's body. The military junta now in control kidnapped the corpse; so afraid were they of Eva's symbolic power that they even made it illegal to utter her name.

Following a revelation about her father, Cecilia Priego started cinematically rewriting her family's past.