Sebastián Muro

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.

Facing the consequences of a violent uprooting, Mateo Sobode Chiqueno has been recording stories, songs, and testimonies of his Ayoreo people since the seventies. In an attempt to preserve fragments of a disappearing culture, Mateo walks across communities in the arid and desolate Paraguayan Chaco region, and registers on cassettes the experiences of other Ayoreo who, like him, were born in the vast forest, free and nomadic, without any contact with white civilization, until religious missionaries forced them to abandon their ancestral territory, their means of subsistence, their beliefs and their home.

Sebastian Muro, the director of this film, starts shooting his father, Rafa, an extroverted businessman, for a film school exercise. Hypnotized by the easiness and indifference his father has with the camera, Sebastian continues shooting him without much purpose until, without him noticing, he starts telling his own family story and stumbles upon an unsettled matter: the absence of his father during nearly a decade when Sebastian was a boy.

Sebastian Muro, the director of this film, starts shooting his father, Rafa, an extroverted businessman, for a film school exercise. Hypnotized by the easiness and indifference his father has with the camera, Sebastian continues shooting him without much purpose until, without him noticing, he starts telling his own family story and stumbles upon an unsettled matter: the absence of his father during nearly a decade when Sebastian was a boy.

Sebastian Muro, the director of this film, starts shooting his father, Rafa, an extroverted businessman, for a film school exercise. Hypnotized by the easiness and indifference his father has with the camera, Sebastian continues shooting him without much purpose until, without him noticing, he starts telling his own family story and stumbles upon an unsettled matter: the absence of his father during nearly a decade when Sebastian was a boy.

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.

Fidel asks for a loan and buys ecstasy with his friend Camilo. The dealer details the procedure. They will only sell on Saturday in a nightclub. They pay cash and leave. Uneasy, Fidel invites Sole home. He boasts about the pills and shows her the stash. They take one each, they dance, and go into the bedroom. With Fidel naked in the bed, Sole walks out of the bedroom, grabs the bag of pills and hides it in her purse. She returns to the bedroom with a condom. Fidel wakes up next morning all alone.

Fidel asks for a loan and buys ecstasy with his friend Camilo. The dealer details the procedure. They will only sell on Saturday in a nightclub. They pay cash and leave. Uneasy, Fidel invites Sole home. He boasts about the pills and shows her the stash. They take one each, they dance, and go into the bedroom. With Fidel naked in the bed, Sole walks out of the bedroom, grabs the bag of pills and hides it in her purse. She returns to the bedroom with a condom. Fidel wakes up next morning all alone.

18-year-old Nacho shows up at the cow-breeding ranch of his father, Marcos, whom he barely knows. His father is worried because, as the ranch’s yearly auction is approaching, several cows are dying without explanation. When Nacho finds out who is killing the cows and why, he understands the magnitude of the problem. Cornered by distress and confusion, he’ll have to choose: being a boss or not being a boss. Perpetuating the system, the insult, the abuse, or refusing to take part in it.