Cecilia Rainero

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

Uma professora fica emocionalmente abalada por causa de sua ligação com a morte do filho da empregada e luta para manter a sanidade.

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.

Chile, verão de 1990. Enquanto o país lida com o fim da ditadura de Pinochet, um grupo de adolescentes de uma comuna rural composto por Sofía, Lucas e Clara tenta compreender seus próprios desejos e relacionamentos enquanto se preparam para a véspera de ano novo.

Ramira returns to the Misiones rainforest from where she ran away after the birth of her son. Her efforts to rebuild the bond with her mother and her son, who does not recognize her as his mother, are complicated. Her family questions her abandonment of the child and fights with her over the deceased father's inheritance. The child struggles between two mothers, while Ramira seeks to find a sense of reinsertion in the middle of a labyrinth of hybrid languages and customs.

This film is a political and poetic portrait of the daily life of a low class woman who plays the part of a cleaning lady. Ramona lives in the suburbs of Buenos Aires. Every day she travels four hours and a half to reach her job and to get back home. She divides her working time between two upper middle-class homes where she receives the name of Réimon, a sound that evokes the English language, a Buenos Aires upper class snobbish custom. It´s fiction and it´s not. It´s also a film about the labour conditions of a worker, about the time this worker uses for working and the efforts that implies working. It´s also about the absurdity of cleaning someone else´s house, the absurdity of modern life and the differences between social classes.

Taking a breather from the crisis of her marriage, a surgeon named Celina visits the country house of an old friend who she hasn't seen since their university days. When she gets there, she realizes that something is going on with Paula, her friend's step daughter. Soon she learns that Paula attempted suicide, but Celina is in no shape to help anyone, because she is fleeing a dark secret of her own and has come to the worst place of all possible places to save herself. In the limbo of this hellish little town, her ghosts are reborn, infecting everyone around her...

Boris is stunned when his girlfriend Ana asks for some time apart. He doesn't know why and she can't explain it. Some time can mean so many things. How much time apart? A week, a month, years? During this imprecise period of uncertainty, Boris is left at the mercy of chance. His life transforms into an erratic urban journey: moving into a transient hotel, buying a temperamental communist-era car, meeting up with a long-lost classmate, random encounters with other women and repeatedly trying to get back together with Ana.