Roberta Ainstein

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

Lalo is a sex influencer: he posts photos of his naked body and homemade porn videos for his thousands of social media followers. Lalo directs his own life, but in private, when out of character, he seems to live in constant melancholy.

A young film director returns to Venezuela, inspired to make a film based on his father's life in the Amazon jungle (La Fortaleza, Jorge Thielen Armand). He casts Father to play himself. What starts as an act of love and ambition — filmmaking to more deeply understand the self, and the other — spirals into a process which confronts Father’s struggles with addiction and his life devoid of his son. EL FATHER PLAYS HIMSELF holds a steady lens to the way the act of cinema unearths, binds, heals and destroys.

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

Bright and beautiful, 17-year-old Adelaida enjoys a comfortable family life with her parents in an apartment in Bogotá. But soon the cracks begin to show through the veneer of this picture perfect family.

Alejandra, a young middle class woman from Bogotá, in her daily routines, capturing both her moments alone and her interactions with the world.

Mulher dirigindo pela rodovia se distrai e atropela algo (ou alguém). Temerosa, vai embora sem parar e guarda esse segredo. O incidente deixa a mulher ao mesmo tempo traumatizada e em estado de alerta. Uma noite, no entanto, diz ao marido que teme ter matado alguém na estrada. Eles vão até lá, mas descobrem apenas um cachorro morto. Amigos do casal próximos a policiais também confirmam que não houve nenhum relato de uma pessoa atropelada. Tudo volta ao normal na vida da mulher, até que notícias de uma descoberta terrível passam a atormentar a todos.