Agustín Mendilaharzu

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.

Is this film about Clorindo Testa or not? Is it about the life of the director, about the life of his father, about the life of his country, or is it just one of those biographical films that proliferate at film festivals in which the narrator spends his time recounting family anecdotes and pulling old photos out of a box? This small, microscopic adventure, whose subtitle, stolen from the Savoyard Xavier de Maistre, could well be Voyage autour de mon père, navigates between these threats and others even worse.

Is this film about Clorindo Testa or not? Is it about the life of the director, about the life of his father, about the life of his country, or is it just one of those biographical films that proliferate at film festivals in which the narrator spends his time recounting family anecdotes and pulling old photos out of a box? This small, microscopic adventure, whose subtitle, stolen from the Savoyard Xavier de Maistre, could well be Voyage autour de mon père, navigates between these threats and others even worse.

Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.

Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.

Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.

Everyone is locked up, but Clementina and the man she's quarantined with won't stop working. We know little about him, and even less about her: we just see over and over again her mysterious face, which seems to defy everything.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

This is a film with music. Or about the music and texts that accompany, in a poetic way, a decisive battle between Unitarian and Federalists. The vicissitudes of the birth of a nation based on the play written by Mariano Llinás and Gabriel Chwojnik, whose images achieve some hypnotic strength.

A poet dies and another one, younger, feels an obligation to promote her work. She is joined by a team of women filmmakers. The film begins with this unusual triangle but, interestingly, it grows into something more complex and subtle than a traditional research project.

Every year for the holidays, a lonely man visits his night owl family, who only occasionally leaves home. After his debut with La noche, Edgardo Castro returns with a film that finds genuine moments of cinema in the confinement, the silence and the apparent daily insignificance.

As mesmas quatro actrizes ligam os seis episódios, divididos em quatro partes, que trespassam vários géneros cinematográficos deste filme argentino de Mariano Llinás com 13 horas e meia de duração. Do musical à série B, dos espiões aos filmes franceses antigos, com o melodrama ou o mistério pelo meio.

As mesmas quatro actrizes ligam os seis episódios, divididos em quatro partes, que trespassam vários géneros cinematográficos deste filme argentino de Mariano Llinás com 13 horas e meia de duração. Do musical à série B, dos espiões aos filmes franceses antigos, com o melodrama ou o mistério pelo meio.

The documentary registers with detail this first visit to Argentina. It's a meditation on the artistic and conceptual processes that Ai Weiwei needs to think of his art. The images dialogue between the director and his instagram, revealing an intimate side, close to the people.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

In 1969 Argentine filmmaker Hugo Santiago directed Invasión, his opera prima, written by Jorge Luis Borges and Adolfo Bioy Casares, and later settled in France. This film documents his return to Buenos Aires in 2013 to shoot his latest film, Le ciel du centaure.


Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.

Waiting alone for her boyfriend at a hotel, a woman starts paying attention to the mysterious behavior of some guests.

A policeman relates an old case. A young widow, an insomniac businessman, a horse forgotten in a stable. The city as the scene of a trap.

Three decades later, the San Juan Civic Center construction project is back on track and, as if nothing had happened, the bureaucratic machinery seems to be united with the cranes and the human force and the megalomaniac desire that such an undertaking supposes. There, in that interruption and that return to activity, in the pharaonic recovery of lost dreams and projects that suddenly come back to life –as if they were architectural zombies–, there Mariano Donoso sees a movie.

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

The story of a young couple, from beginning to end, from the euphoria of falling in love until the final days blurred and dark, is realized with an analytical eye and investigative zeal. How and why two people fall in love? What now? How quickly will they get into a relationship? When a relationship ends, and when should it end? Peter and Sofia, with its simple story of love, they become reflections of all those who, at twenty-five years have been in love.

In July 2002, an American Producer comissions director Mariano Donoso a documentary on the state of Education in San Juan, the province where he was born. On the first day of filming, a teachers’ strike begins, paralyzing classes in the whole province, and – indirectly – the film itself. Donoso consequently embarks on an odyssey (which is sometimes funny and sometimes sad), through the past and present of his homeland. Stikes, claims, Sarmiento, the earthquake, the province’s bureocracy and its relationship with Buenos Aires, and finally, the desert, await for Donoso in his venturesome journey.

In July 2002, an American Producer comissions director Mariano Donoso a documentary on the state of Education in San Juan, the province where he was born. On the first day of filming, a teachers’ strike begins, paralyzing classes in the whole province, and – indirectly – the film itself. Donoso consequently embarks on an odyssey (which is sometimes funny and sometimes sad), through the past and present of his homeland. Stikes, claims, Sarmiento, the earthquake, the province’s bureocracy and its relationship with Buenos Aires, and finally, the desert, await for Donoso in his venturesome journey.

What do Eva Perón, Víctor Grippo, an American tourist and the Catamaran poet Arturo Basanta have in common? That all of them once passed through the Traslasierra valley and were also victims of the tuber that has obsessed with the inhabitants of Villa Dolores: the solanum tuberosum, better known as the potato.

An album of odd and humorous stories on small places exclusively dedicated to idleness, which are empty in winter and crowded in summer: the spa towns. Cities under water, luxury hotels, mermaids, sea animals, sand castles, people who worship water, praying for health.