Atilio Sánchez

The life of Juan José Gorasurreta is pierced by images. In his new feature film, the historic film society programmer appropriates the films that made him in order to find new relationships and patterns and thus generate a convergence between his personal life, that of Argentina and that of cinema. In The Absences his travels coexist with Orson Welles, activism, Fernando Birrri, the Cordobazo, his studies, Eva Landeck, family, Carlos Echeverría, the Trelew Massacre, Nagisa Ōshima, censorship, film societies, the Malvinas war, his short films. The randomness of this list vanishes as the film progresses, and gives way to a synapse that is as logical as it is moving. “It is a portrait on how Argentine history and my encounter with films designed my sensitive areas” —as he did with his own story, no one could define The Absences better than Gorasurreta himself.

Isabel can’t seem to inhabit her reality. One day like so many others, she receives the visit of Ana, a friend who will help her fulfill her desire.

A documentary essay about Argentinian trans activist Maite Amaya.

A group of friends, the windows of buildings at night, Chacarita's cemetery, a road trip and tree tops are mixed together with sleepless city lights.

볼셰비키 혁명 발발 100주년인 2017년. 러시아에서는 어떤 공식 행사도 열리지 않았다. 중앙정부는 혁명의 기억을 무해한 박물관 환경 속에 가두기로 결정한다. 이런 망각의 분위기 속에서 현실과 분리된 일부 장면들이 과거를 현재로 불러온다.

A portrait of the everyday life of the great Argentinian painter Remo Bianchedi. We see him in his lonely house, spending time with a friend, always working in the most absolute of isolations—an author that perseveres in secret, like a monk, removed from the art world, its advantages and its whims.

Bernardo, a 9 year-old boy, lives in the mountains with his family. One day, he meets a little girl. Then together, they discover a secret in a nearby forest.

Throughout Córdoba, Argentina, there is a wave of looting, and the police are taking several young people. In the midst of this hectic period, teenage Juliana becomes pregnant by her boyfriend, Lautaro. Juliana wants to have an abortion, but she is afraid to do it with pills and they do not have money to pay for an intervention.

1995년 11월 3일, 고향의 대표 산업인 리오테르세로 군수품 공장이 폭발했다. 수천 개의 포탄이 그 포탄을 만들어 낸 도시를 향해 발사되었다. 12살이었던 나는 폭발로부터 도망치는 도중에 고향의 참상을 비디오 카메라로 녹화했다. 그로부터 20년 뒤, 나는 그 테이프들을 발견했다. 군수 산업의 위협은 현재에도 끊임없이 지속되고 있다. (제22회 전주 영화제)

1995년 11월 3일, 고향의 대표 산업인 리오테르세로 군수품 공장이 폭발했다. 수천 개의 포탄이 그 포탄을 만들어 낸 도시를 향해 발사되었다. 12살이었던 나는 폭발로부터 도망치는 도중에 고향의 참상을 비디오 카메라로 녹화했다. 그로부터 20년 뒤, 나는 그 테이프들을 발견했다. 군수 산업의 위협은 현재에도 끊임없이 지속되고 있다. (제22회 전주 영화제)

The echoes of Jorge Bonino resonate in the spaces he inhabited, and his presence becomes imaginable from the stories that tell it. A body that exploded into a thousand pieces scattered across territories and affections that speak of him as someone capable of turning life into an extraordinary game.

Although she fulfills the role of perfect wife and mother, Lola is not satisfied with the fantasy of happiness during a family vacation in Mar del Plata.

A divorced taxi driver shows up with a black eye at the home of his ex-wife’s new family; he’s been invited to dinner and he desperately wants to reconnect with his young daughter. A professional magician’s car breaks down and he ends up spending an emotionally intense night with a young, widowed toll booth worker. A singer songwriter serving a lengthy prison sentence is released for one night to perform at a local community centre. These three deeply engaging stories about yearning for connection unfold in parallel, one New Year’s Eve in a small town in central Uruguay, balancing the universality of human suffering with a powerful sense of hope.

It's late morning and Franca is sleeping. Maria interrupts her, wakes her up and covers her, in an attempt to get her out of her apathy. Maria is a little drunk and excited after a long night of partying. Franca, on the other hand, is sad and going through a crisis. The two friends talk between places, about the comfort and intimacy they share, about transference, time and how life goes.