Ezequiel Salinas

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.

József works at the largest still-operational grain silo in Budapest. He’s been doing this work for more than 30 years, and lives in a container home next to the structure, where trucks and trains rumble past his window. When he is lowered into the ten-story-deep silos to clean them, he looks like a scuba diver at work. These scenes are captured with stunning, contrast-rich camerawork, and ably edited with a strong sound design.

A poor boy decides to stop being a poor boy and, together with his friend, tries to run away taking a bag full of money from his boss. The last night in his hometown is a review by way of farewell to the two friends for the places, the emotion and the songs that marked their lives.

A poor boy decides to stop being a poor boy and, together with his friend, tries to run away taking a bag full of money from his boss. The last night in his hometown is a review by way of farewell to the two friends for the places, the emotion and the songs that marked their lives.

A poor boy decides to stop being a poor boy and, together with his friend, tries to run away taking a bag full of money from his boss. The last night in his hometown is a review by way of farewell to the two friends for the places, the emotion and the songs that marked their lives.

A poor boy decides to stop being a poor boy and, together with his friend, tries to run away taking a bag full of money from his boss. The last night in his hometown is a review by way of farewell to the two friends for the places, the emotion and the songs that marked their lives.

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.

A journey through the memory of the Suquía, a gloomy river, full of desperation and resentment from its people. Like the Nile, the Seine and the Ganges, this river has much to whisper about the city that it has seen grow upon its banks.

Through conversations with an array of Norwegian writers, filmmakers, psychiatrists, artists and more, Izquierdo investigates the impact of both the film and novel Sult by Knut Hamsun on generations of Norwegian culture and artistic practice, while exploring how it could speak about what it means to be an artist today.

The hypocrites tells the story of Nicolás, a young cameraman who works filming social events, but doesn’t feel fulfilled with his profession. In the middle of a high profile wedding, he accidentally records a compromising situation between the bride, Martina, and her brother, Esteban. Realising about what is in the tape, he sees the opportunity of leaving his tedious life behind through blackmailing the people involved. However, he does not know this secret could endanger his own life.

At a deserted construction site in Córdoba, Argentina, a security guard named Pedro whiles away his hours kicking a soccer ball, listening to the radio and making dolls from bottle tops. At the end of the day, he takes them home, where his son Juampi waits for love and attention. The single father gives him as much as he can make time for.

The film follows Agustina as she finds the videotapes that her father Jaime recorded before the accident that took his life. The family secrets surrounding Jaime push Agustina to get involved. Her search will reveal a story marked by sexuality and political activism. Agustina discovers that her late father, previous to his marriage and family life, was involved with insurgent leftist groups during the era of the Argentinian military dictatorship, had a long term romantic relationship with another man and was a prominent member of the underground LGBT scene. She reconstructs her father's life through interviews with people that knew him and a treasure trove of family films to produce a moving portrait of a multi-faceted, fascinating and mysterious figure.

It’s not long to go until Cata’s 15th birthday and she’s getting more nervous by the day. Even her level-headed and reserved cousin from Sweden annoys her. But Cata’s moodiness gradually gives way to tentative feelings of affection.

In the summer of 1987 in a town in Córdoba, two teenage sisters, Elena and Lucia, are alone at home. The youngest is upset with her older sister, who thinks about how to get out of that town, to study and to live differently.

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.

A film by Ines Maria Barrionuevo

A film by Ines Maria Barrionuevo