Florencia Gómez García

Flor thinks she's in vacation with her father, when in reality Pedro is kidnapping her due to the fear of not seeing her again. When Flor discovers the truth, she escapes. Érica, her mother, looks for her desperately.

A sunny morning in Buenos Aires. All seems quiet, but then an odd race begins: a variety of people are after a backpack. A little army of seekers surprises us at every corner. Suddenly, a lonely bureaucrat (Mapache) is involved in this adventure, and new, mysterious and unknown people start to populate his life, all running around the popular Argentinian city to obtain the backpack which seems to be crucial to his own fate, according to the words of his new accomplice, magician and tarot reader Luminitsia.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

A group of friends, the windows of buildings at night, Chacarita's cemetery, a road trip and tree tops are mixed together with sleepless city lights.

Mother and daughter Silvia et Andrea are also ufologists. They run a UFO research group together and stand guard, chasing the lights that appear mysteriously over the Paraná river. Joyously adopting the genre of (science-)fiction, Maximiliano Schonfeld uses humour and affection to paint the poetic portrait of a community.

Julia returns to her hometown and the neighbourhood she left years ago after being swindled. She’s here to sign a permit to authorize her daughter to move in with her father, but more than anything, she’s come back to recover money that she left there, and which would solve a lot of her problems. Returning to her past is nothing like she expected it to be.

Iris conhece Renata em um conjunto habitacional na Argentina e imediatamente se sente atraída por ela. Juntas elas enfrentam hostilidade e o preconceito

Aquí y allá is an essay film that studies what being at home means. The filmmaker uses photographs, maps and Google Earth to connect places around the globe; not just from her own past, but also from the complex migratory history of her family that stretches back to Hitler-era Germany and Mao's China. Reality and the virtual prove equally confusing: however much you zoom in, you never get closer to home.

“Veranada” (summer pasture) opens a small window into the fascinating way of life of the Malargüe herders. The film moves through the eyes of Don Arturo, a gaucho who travels on his horse around the Argentina Andes Mountains in search of greener grasslands to feed his goats and sheep. In this remote community, herders depend on the one necessary resource to survive: water nourishes the plants in the meadows which feed the herds. This story is about Don Arturo’s tenacious yet hopeful will to survive amidst a world affected by climate change, severe drought.