Gerardo Kalmar

일곱 살 솔은 할아버지 댁에서 아버지를 위한 깜짝파티 준비를 도우며 하루를 보낸다. 시간이 지날수록 점차 혼돈이 찾아오고, 가족의 기반에는 금이 가기 시작한다. 솔은 놓아주는 것이 곧 존재의 해방이라는 사실을 받아들이게 된다.

1985 – two years after the end of the military dictatorship in Argentina, leading members of the junta are tried in court. Ulises de la Orden creates 18 succinctly edited chapters from 530 hours of footage, bearing witness to state terror.

As every year, the Los Pinos school, a prestigious school of the confessional type, sends its students on retreat to the countryside. Under the watchful eye of teachers and priests, the children are led on the path of their physical and moral development. Through the gaze of several middle and upper class teenagers, the film shows how their upbringing affects the future of society itself.

멕시코 디오스에서 사역 중이던 미국인 신부 피터는 귀신 들린 마갈리 수녀에 대한 엑소시즘 도중 악령에 홀려 그녀를 탐하는 죄를 짓는다. 18년 후, 피터는 고아들과 소외된 자를 도우며 성인으로 칭송받는다. 어느 날, 원인을 알 수 없는 역병으로 4명의 아이들이 세상을 떠나고 피터는 자신이 지은 과거의 잘못에 대한 하나님의 징벌이라고 자책한다. 피터는 파문을 각오하고 잘못을 고하기 위해 발두치 주교를 찾아가지만, 교황청에서 피터를 주목하고 있다는 말을 들은 후 지원받은 약과 장비를 들고 돌아온다. 그날 밤, 악령 들린 하나님의 아들 예수에 대한 악몽을 꾼 피터는 우리베 교도소장의 전화를 받고 사라가도 코라존 교도소를 방문한다. 마갈리는 악마에 사로잡힌 에스페란자가 피터의 딸이라고 말하며 악령을 쫓아내 달라고 부탁한다. 피터는 에스페란자에 대한 엑소시즘을 위해 최고의 구마 사제인 마이클 신부에게 도움을 요청한다. 피터와 마이클 신부는 에스페란자의 육체를 빌려 돌아온 악마 발반에 맞서 구마 의식을 행하는데...

During Christmas dinner, an Argentinian family finds out that their millionaire uncle has died. His relatives speculate about his generous inheritance, but everything changes when a woman arrives at twelve and introduces herself as the deceased's wife. The head of the family, desperate about the possibility of losing everything, hides the body and forces the others to simulate a kidnapping. The plan is that, this way, the inheritance would be returned in the form of ransom payment. A bag of money appears and the plan seems infallible, but it falls into crisis when everyone wants to take their part.

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.

Zhao Li manages a Sichuan Opera troupe that lives and performs together in a rundown theatre in the outskirts of Chengdu. When she receives an order of demolition, she hides the news, fearing that this could spell their end. Secretly, she wouldn’t mind stopping since their life has become harder over the years. But what else can she do? She also worries that her niece Dan Dan, their star, will leave them for a better future in the city. To keep her troupe “family” together, Zhao Li begins a search for a new theatre for them to both sing and live in. As she struggles with bureaucracy, the characters from the opera world that she uses to escape her troubles begin to seep into her real life…

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.

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.

When two neighbours clash, their argument becomes less about proposed building alterations and more about the wider battle between class and social status. The hugely impressive building in question is the only example of a Le Corbusier residential home in all of Latin America, adding to the poignancy of their argument.

The filmmaker, writer and teacher-teacher Ricardo Becher likes extreme decisions, both in his life and in his work. Now, at 80 years of age, he begins a new book called “Recta Final”, about his geriatric experience. Lipgot portrays the present of the filmmaker, at the same time that he reviews his history, from his first shorts and the collaboration with Torre Nilsson, passing through the fundamental "Shot of Grace" (1969) - a film that defied its time and was censored -, leading to the new movement that Becher founded with his students: digital neo-expressionism

Three stories of ordinary people intersect on Christmas Eve: a dentist desperate to find his son's toy; a writer who is not happy and decides to look for the woman of his dreams; and a doctor who intends to flirt with a Spanish woman.