Director
Buenos Aires, 2019. Lucrecia, who jobs as a museum security guard, foresees a sharp rise in the dollar’s value with her pendulum and falls in love with a currency exchange house employee.
Assistant Director
Federico, in his mid-20s, lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend. He fears hurting her. However, she is laid-back, feisty and not even close to feeling hurt. He begins obsessing over her unexpected reaction—but then he meets someone else.
Writer
Two young Argentines, brought together by chance, wander the streets of New York City, increasingly lost in a maze of currency exchange, translation problems, religious vocation and nocturnal flirtation.
Director
Two young Argentines, brought together by chance, wander the streets of New York City, increasingly lost in a maze of currency exchange, translation problems, religious vocation and nocturnal flirtation.
Editor
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
Director of Photography
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
Producer
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
Screenplay
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
Director
At her summer job, Ivana learns it's easy to create a circle of lies, fiction and love when you're bored.
A filmmaker meets her ex-boyfriend, who plays a role in her new film, in which the authenticity or falsity of a kiss in a gay scene is debated, with backstage included. Metacine or metagay? Gay cinema within cinema or cinema within gay cinema, variations of a daedalus of representations. "The current boyfriend" feeds on lateral humor, on the political of desire as a talk in the kitchen, on the flicker-free observation of who we are and what we pretend to be, as a nucleus that is reinterpreted with always different gestures, once as drama and another like comedy, almost without knowing which is appropriate.
