Iván Gierasinchuk

Шестнадцатилетний Мануэль живет в маленьком прибрежном городке. Он играет на бас-гитаре в группе со своими лучшими друзьями. Один из них — Фелипе, с которым он дружит с самого раннего возраста. У них нерушимая связь. Но Мануэль чувствует что-то совершенно новое, что заставляет его взглянуть на Фелипе другими глазами. Как не потерять что-то ценное, когда это то самое, что разрывает тебя изнутри?

Stella and her mother Clota must travel from Junín, where they live, to the town of Costa Bonita, in Necochea, to see some apartments that Stella's father left her. This will become a nuisance for Stella, since her mother is someone difficult to deal with: she complains, she is afraid of everything, she says hurtful things and she keeps remembering the past. Paula Hernández's new film narrates the journey by bus of these two characters, a simple premise for a film almost always in tension as its two protagonists, brilliantly played by Valeria Lois and Rita Cortese. The only respite for poor Stella, and for the film itself, are conversations she has with Primo (Sergio Prina), one of the bus drivers, moments of calm amidst so much storm that, later on, will become literal.

Without a doubt, Angélica is having a crisis. Her mother died recently, she has to empty out her childhood home because it is going to be demolished, she doesn’t seem to have gotten over her split with her ex, and she is about to turn 40. Without any idea about how to deal with any of these things, she escapes to the past: she secretly hides in her childhood home and, while the walls fall around her, reality becomes hazy. Hidden in her house, that is both a shelter and a trap, bit by bit Angélica loses herself, fusing with her mother. Delfina Castagnino creates an elliptical and sinister tale, sowed with disturbing sounds and shadows, a film in which a framing, a musical note or a camera movement can transform peeling wallpaper into a threat, or the projection of a slide image into a ghost. And so what could be a family drama becomes a psychological thriller: Angélica turns mourning into a tale of horror.

Фильм повествует о погружении матери и дочери в семейную эмоционально-напряженную среду. Аргентинский режиссер Паула Эрнандес исследует столкновения желаний с ожиданиями, когда семейное давление доводит женщин до предела.

Everybody has a mother. But still, motherhood remains a state filled with silences. Between society’s mandate to be a ‘good mother’ —always patient, caring and happy— and the private reality of mothers around the world, a huge void in understanding remains. Aiming to break this silence through candid interviews with mothers of all backgrounds and generations in Latin America, Malamadre narrates the untold story of motherhood, from the mothers’ point of view.

Unable to have kids of their own, Cecilia and Diego get a call from the adoption agency they registered to, some time ago. The sudden arrival of Joel, a 9 year old with a very hard backstory, will change the course of their lives.

A rock concert, the irruption of the police, four friends forced to flee quickly and forget their backpack there. Friendship and adolescence combined as one, the future less than a time to travel rather than a space (a city) to discover.

Мать встречается с отдалившимся сыном в доме, где прошло его детство и пытается наладить былые отношения.

A legend of Argentine rock travels to Iquitos to find an old Healer and participate in his Ayahuasca ceremony. You will have to go through the jungle and your own ghosts, on your way to healing.

In 1952, Argentina's beloved First Lady, Eva Perón, died of cancer at the age of thirty-three. A renowned embalmer was commissioned by the grieving Juan Perón to preserve her body for display, and Argentines flocked to be near "Evita". Three years later, when his government was overthrown by a military coup, Perón fled the country before he could make arrangements for the transportation of his wife's body. The military junta now in control kidnapped the corpse; so afraid were they of Eva's symbolic power that they even made it illegal to utter her name.

Following a revelation about her father, Cecilia Priego started cinematically rewriting her family's past.