Sergio Mazza

The stopped time of the entrerriana siesta. The songs of a woman like suspension bridges. A lost foreigner with desire to be. A day, an encounter. Almost like a documentary, the film introduces to us in this place; a news article to the Earth, the landscape; where a small one, but deep fiction history is shown with simplicity, the intensity and the love of the rural atmosphere that contains it.

Marita is a trans-sexual woman from a small town in Entre Rios, Argentina who lives a solitary life in a world that sees trans-sexuality as a misunderstood phenomenon instead of an identity choice.

Marcelo Vergara is a man without emotions; antisocial and arrogant, someone who still alternates between her adolescence -bohemian, rocker and anarchic- and her current self. Now approaching her 40th birthday, Vergara has a dream. A wish that he can't seem to get out of his scattered mind: to be a father.

His mother has left and Gonzalo doesn't know why. How he is taking care of his little infant sister all alone, though he himself is barely ten years old. Neighbours help and try to figure out what should be done with the two children. Like old Felipe with his pub, the veterinarian Julio and his wife, or kind Lorena, who's stranded in the town. And gradually Gonzalo finds out what is really going on.

A few years ago a man appeared who claimed to speak an apparently lost language: Chaná. Soon dictionaries were published and the language could be completely recovered. This man also located the Chanás in the same place where the Volga Germans live today, in the province of Entre Ríos. Inspired by the book of poems of the same name, Big Shadow is the story of a group of friends who live in German villages while they prepare a film about the new language.

Juana is part of a very special family; they have the gift of transforming into animals, but she doesn't know it. Which he will discover the day his mother transforms into a parrot, having three days to recover her human form or, otherwise, she will remain a parrot forever.

Ana and her two children live in the anonymity of the suburbs. She cares for the sick to make ends meet. But her youngest daughter requires much more, so much so that it puts the delicate balance of their lives at risk.

Juana and Carmela, two pregnant women, go out for help from the peripheral neighborhood where they live to hospitals in two cities on the border between Argentina and Brazil.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.