José Celestino Campusano continues his task of exploring territories that haven’t yet been covered much by Argentine cinema, but with which, film after film, he managed to configure his own universe. This time, the prolific filmmaker traveled to the locality of Gálvez, in the province of Santa Fe, in order to collect town life experiences and, with them, shape his new feature. The Naked Queen is the result of this journey.

Bruna is a young and beautiful actress in the making who has just separated from her boyfriend and is going through a period of deep melancholy. A late encounter with her ex gives her the strength to turn her experience into a play in which life and fiction intermingle.

Román, who is dedicated to the protection of political leaders and tries to develop himself as a trainer and manager of boxers, is harassed by a duo of abusive representatives who in turn have been hired as a shock force by an opposing political party.

A tale based on the criminal path of a fearsome nomad family. Inspired by true events, it depicts the vulnerability of people before the ineffectiveness of the State's institutions.

Five children venture into the forest to find the Urpus dolls, with the help of a book. But along the way something unexpected and terrifying will happen; that will change their lives forever.

Based on a true story of sexual abuse between siblings.

Ariel is a good-looking farm boy who lives with his father and sister in a rural part of Buenos Aires province. He has become familiar with sex thanks to Omar, a priest with whom he has a secret affair.

Cícero is a serial rapist who drugs and abuses women who go to him seeking spiritual healing. His ties to local police and politicians intimidate his victims and their partners... but not all of them.

Simón is the owner of a hardware store in the greater Buenos Aires area with four employees. Constantly mistreating them, he never gives them a break, creating a high level of unease in the everyday work routine. Absolutely submerged into the world of labor, The Spider's Lullaby weaves its story with each tension that shape management authoritarianism but also solidarity, resistance, and vile deeds among colleagues.

Morena is a trans woman who lives together with her elderly mother, keeping a harmonious relationship. Morena has been working in a textile factory for several years. She has two transvestite friends, one of them is Claudia, who is a teacher and has just accessed to her first employment as substitute; another is the very young and beautiful Myriam, immersed in a maelstrom of excesses linked to prostitution with police protection. Morena discovers that Ricardo, her current partner, has lied to her from the first moment, that he is married and is the father of two children, so she decides to end the relationship.

Vero lives with her older brother Abel, and they both work together at a construction site. There she has to put up with the advances of some of the workers, which is something she’s used to doing because she’s had this job since she was a lot younger. In the Border follows this character on her path to becoming a better person, which is represented in her way of helping a cousin with an abusive husband and in the NGO she signs up for to give food to the homeless who live on Paseo Colón Avenue. But there’s another parallel film here, and it’s the one in which Campusano’s eye captures the City of Buenos Aires in his own unique way. One of those great moments takes place as soon as the film begins, when Campusano stops to film some street musicians while they rap on a subway platform.

A girl comes to town to work as a dancer, an entrepreneur of the night becomes his manager. A journalist in decline, looking for the news that catapults him. All three converge in the VIP Sector, where human trafficking, fake news and transgressions of power coexist.