Andrés Perugini

An old woman wears herself out with every movement, entrenched in her room. Each of the gestures of her aching body reminds her of the years of prison and torture she experienced as a political prisoner of the Uruguayan dictatorship. At the end of the 1960s, Élida Valdomir was an armed leader of the Tupac Amaru movement and never denied her commitment. In this almost closed door, yesterday's memories and today's images constantly respond to each other.

High school students find their way in life at Las Delicias agrotechnical boarding school in the Argentine countryside. This striking coming-of-age film takes place against an inviting backdrop of fields of crops, greenhouses full of tomato plants, and the somewhat dilapidated school buildings, where dogs and chickens roam.

A couple builds a space to live. When it is finished, before inhabiting it, they invite a group of people to visit it. The invited people circulate individually through this new and empty space. They look, they walk, they talk. The film tries to rescue the effect of that experience in each one of them. So the space itself becomes an experience. What will they leave of themselves? What will they take? What will they show of the human? What is a house? What do you do with the past? The series of people who briefly inhabit that place, recently built, still free of all traces, could be thought of as infinite. The space fills and empties. The residual of that transit remains: a luminous fragility.

During the Malvinas war, more than a thousand Argentine soldiers were wounded. Many were cared for by 14 nurses in a mobile hospital located in Comodoro Rivadavia. After 37 years of silence, three of them return to the place to tell their stories.

"Several times a day, for many months, I went out to the terrace of my house to look at the terrace next door, which is the terrace of a nursing home. I went out as soon as I got up and before going to bed, as in a ritual. And soon, over the course of the weeks, I went out several times a day to look at that space, a window between two concrete blocks, a mysterious door, the light on the ceilings." (Gustavo Fontán)

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

The property is put up for sale. Different people roam the house moved out of curiosity, others eager to buy. Irene's family specifies the sale. The house has new inhabitants that initiate the strange act of making the alien space their own. The rooms take on a new dimension and the house acquires a new identity far from the previous one. However, is it possible to erase the traces of the past?

25 years ago a group of poets participated in a documentary about an ethylic competition around bars of Buenos Aires.

During the Argentine dictatorship of the eighties, two gravediggers are in charge of burying all the N.N. that arrive at the cemetery. One afternoon they bring the corpse of a beautiful girl whom they both fall in love with. That rainy night will be the excuse for a reflection in candle on the friendship, the old age and the bitter beauty.

In 2001, far from the space ships, Argentina suffers a social and economic crisis that rages the fury in the streets. Looting, violence and terror are part of the everyday landscape. Fear overflows the atmosphere and families are breaking down in a rarefied climate.

Organism is, among other things, the story of a young woman and her pet, a small dog named Italia. It's also a new piece added to the extended work of Iván Fund, where the documentary record blurs with fiction in order to create (or describe) small intimate universes where the director's relationship with his characters result in an area where emotions and sensibility rule using small everyday events that push the story forward.

Выдающийся испанский режиссер Карлос Саура, исследуя уникальную историю Аргентины, постигая ее культуру, представляет серию хореографических картин и блистательных вокальных номеров в исполнении лучших артистов. В этом фильме автор следует традициям своих легендарных проектов: «Фламенко, фламенко», «Фадо» и «Танго». Филигранная режиссура, звучание гитар и аккордеонов сродни самому вдохновенному признанию в любви…

Патагония, 1960 г. По дороге в Бариоче немецкий физик встречает аргентинское семейство. Там, на берегу озера Нагуэль Хуапи, Ева, Энцо и трое их детей собираются сдавать меблированную комнату. Образцовая семья вновь пробуждает в ученом тоску по чистоте и совершенству. Его внимание особенно привлекает 12-летняя Лилит, которая кажется слишком маленькой для своего возраста. Не догадываясь о том, кем на самом деле является их новый знакомый, семья соглашается приютить его. Обаяние этого человека, его элегантные манеры, знания и богатство очаровывают их… но однажды они понимают, что живут рядом с одним из величайших преступников всех времен.