The film does not describe, rather it observes, in a distant manner, the world of Martin, a seventeen year old who feels he doesn’t belong anywhere, not at home, school, nor with his friends or members of his rock band. In search of some happiness, Martin takes off to the coastal town of Mar de Plata, where his older brother lives. Unglamorous, yet enchantingly addictive and refreshingly genuine, Acuña paints a confused and uncomfortable world, and makes us want revisit it over and over again.

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.

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

Set in Santa Victoria, Argentina, this 2SLGBTQ+ supernatural docu-drama tells the story of a Wichí community facing displacement, along with their efforts of retaliation, at the hands of a negligent government’s plan for urbanization.

Between January 2019 and May 2020, Adriana Lestido undertook a journey, without company or assistance, through the Arctic Circle and the Svalbard Islands, a frigid and inhospitable region shared by Norway and Iceland. During those months, Argentine photography recorded, in all its splendor, a still unknown ecosystem.

Since the end of the 90’s, more than thirty teenagers have taken their own lives in Las Heras, a southern town in the province of Santa Cruz. There were no indications of the causes for these suicides, and no one can explain what happened. Based on those deaths, and others that still occur today, this film evokes those existences, trying to examine the emptiness and the mystery that surrounded their lives and deaths.

As a young woman, Diana Bellessi wanted to travel. When few women walked the road alone, she hitchhiked the continent. A poet searching for the lands promised by her childhood books. Over time, she discovered that going somewhere very close could be as intense an adventure as those trips. The secret garden accompanies the poet on the journey that she makes every end of the year, from Buenos Aires to an island in Paraná. There, surrounded by the nature of the delta - in that place where the garden of the house merges with the mountain - is the place where she writes. "Writing is also a vertigo - she says while, with buckets, she removes the mud left by the flood -. But the beautiful thing is to have the vertigo and the return. Writing pushed me far and out, and brought me back."

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

Mountakha is a Senegalese immigrant who has just arrived in Buenos Aires. In Dakar he was a truck driver. While trying to get that job in this new city, he does some temporary jobs. Mountakha wonders if he can be a good salesman, or if his destiny is tied to acting. Some of his new friends have a particular bond with the cinema.

Inspired by the short stories of Julio Cortázar, Lynne Sachs creates an experimental narrative about a group of girls on the verge of adolescence. While their lives are blissful and full of play, the political and social unrest of contemporary Argentina begins to invade their idyllic existence. Sachs’ brilliant mixture of film formats complements the shifts in mood from innocent amusement to protest

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

A young man becomes obsessed with a gardening student who is about to leave for Switzerland.

A 43-year-old teacher and his 14-year-old student embark on a forbidden trip.

In the 90s, members of the Wichí community of Gral. Mosconi, northeast of the province of Salta, searched for evidence and prepared the necessary arguments to face a judicial dispute that required them to demonstrate with evidence the possession and ownership of their property. territory. Indian Path is built from filming and testimonies generated at that time by the community itself, which introduce us to that complex process where, beyond the legal, the Wichí of Misión Tolaba put into play the ancestral notions of belonging to nature that give life and sustenance to mountain civilizations.

What if I told you the plot of Vertigo is true, but the story even more perversely rooted in the traumatic history of a dictatorship, in a nation’s obsession with a woman who became a goddess and a savior, and in the real-life attempt to reincarnate her in the body of her successor? Through supernatural means, Isabel Martínez de Perón attempts to extract from the embalmed body of Eva Perón the dose of charisma she lacks.

Argentina Buenos Aires, 1968. The boundaries between everyday life and art are blurry. While increasing political and institutional violence, artists try to transform their ideas into realities. The dictatorship plans to stay in power for a century with the self-assigned mission of “morally healing” Argentina’s spirit. Among broken artists, emerging pop stars, poets with metallic voices, and collectors running shady deals, Prat, a young and morally ambiguous upstart, is a new face in the art scene. Is he a service provider, an artist, or just another outcast? He meets Omar, an artist he admires, and Maria, a mystical anarchist hiding her oligarch lineage. The trio wanders through nightclubs, spontaneous fashion shows, psycho-magical group therapy sessions, and dinners in the rooms of bitter political figures. The backdrop is a collapse that seems imminent.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

Documentary about the Argentine poet, born in San Juan, Jorge Leonidas Escudero. His voice -speaking and reading- is the thread that brings together the experience as a gold digger in the San Juan mountains, the enthusiasm for games of chance, poetry, nature. The player loses, however he insists. Poems, friendship and humor remain, the celebration of the spoken word.

A film of and through the trees. Leaves catch, consume and resist the light through the seasons.