Cecilia Rainero

Buenos Aires, 2019. Lucrecia, who jobs as a museum security guard, foresees a sharp rise in the dollar’s value with her pendulum and falls in love with a currency exchange house employee.

Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.

This comedy of errors revolves around a hapless 30-year-old named Arturo. His penchant for indiscretions is as impossible to overlook as the finesse with which the film glides from March 2020 to the preceding decade and back again.

During a very dry summer in an isolated community far from the city. Sofia, Clara and Lucas face their first loves and fears, while preparing the New Year's party, without knowing that nature threatens them.

While looking after a friend’s house, Vladimir (a young Colombian) wakes up one morning to find a gigantic stone sitting on the terrace, next to the pool. He has no idea where it came from. Disturbed and intrigued, he calls Cecilia (his ex-partner), who is pregnant with her new partner’s child, to help him figure out what to do. A part is an independent element that can be considered or included within a whole. It can also be a person or group that stands in opposition to another in a discussion or in a war. It might be a brief exchange, or perhaps just any place. This is a story that begins early in the morning. A rock appeared on the terrace. A giant rock. Miguel calls his ex-girlfriend and asks for help. But this is only a part.

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

Fernando, a naval officer, arrives in the city of Rosario to work on an oil tanker. But his move seems to conceal other motives.

Delfina returns from New York to a small riverside town in the province of Buenos Aires. There she visits a tomb of an older woman and one of a younger woman, named Julia, who is identical to her.

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.

A couple must hold on to $100,000 for 24 hours as they wait to buy a house. As the time ticks by, the true nature of their love unravels.

Cecilia is too afraid one night to let her housekeeper's son into the house. The next day his dead body is found.

Boris is stunned when his girlfriend Ana asks for some time apart. He doesn't know why and she can't explain it. Some time can mean so many things. How much time apart? A week, a month, years? During this imprecise period of uncertainty, Boris is left at the mercy of chance. His life transforms into an erratic urban journey: moving into a transient hotel, buying a temperamental communist-era car, meeting up with a long-lost classmate, random encounters with other women and repeatedly trying to get back together with Ana.

Nothing went as planned: what seemed to be an original idea (taking an international fashion event to a small town in the Argentine Pampas) ended up as a mysterious affair, with a mannequin who seems to have vanished, and who insists on leaving small clues scattered across the immense plains. But nothing seems to be too strange for Commissioner Sirota and her particular method which, this time, includes a clairvoyant, a legendary detective arriving from Santa Rosa and some picturesque “peritas” who choose to work at night, swinging to the rhythm of Ska. In the middle, a disturbing question: Is it a police case they are dealing with, or is someone taking them (the police, the whole town, the Italians – all of us, perhaps) for a fool?

Ramira returns to the Misiones rainforest from where she ran away after the birth of her son. Her efforts to rebuild the bond with her mother and her son, who does not recognize her as his mother, are complicated. Her family questions her abandonment of the child and fights with her over the deceased father's inheritance. The child struggles between two mothers, while Ramira seeks to find a sense of reinsertion in the middle of a labyrinth of hybrid languages and customs.

This film is a political and poetic portrait of the daily life of a low class woman who plays the part of a cleaning lady. Ramona lives in the suburbs of Buenos Aires. Every day she travels four hours and a half to reach her job and to get back home. She divides her working time between two upper middle-class homes where she receives the name of Réimon, a sound that evokes the English language, a Buenos Aires upper class snobbish custom. It´s fiction and it´s not. It´s also a film about the labour conditions of a worker, about the time this worker uses for working and the efforts that implies working. It´s also about the absurdity of cleaning someone else´s house, the absurdity of modern life and the differences between social classes.

Taking a breather from the crisis of her marriage, a surgeon named Celina visits the country house of an old friend who she hasn't seen since their university days. When she gets there, she realizes that something is going on with Paula, her friend's step daughter. Soon she learns that Paula attempted suicide, but Celina is in no shape to help anyone, because she is fleeing a dark secret of her own and has come to the worst place of all possible places to save herself. In the limbo of this hellish little town, her ghosts are reborn, infecting everyone around her...

Rudi and Silvia, with their children Martín, Federico and Silvina, escape from the city to spend a few days in their country house. Rudi gets into arguments with the neighborhood landlord. Children wander around the area. Martín likes fire. Fede is scared. One day, the abandoned house in the background suffers an unexpected fire and a dead person appears: a homeless man suffocated by the smoke. The children did something. Something horrible. Now, we will have to see a way to return to the desired calm.