Jorge Petraglia

Buenos Aires, Argentina, 1983. In the last and turbulent days of the military dictatorship, Alicia, a high school history teacher, begins to ask uncomfortable questions about the dark origins of Gaby, her adopted daughter.

Eugenia's parents die. She goes to live with Amalita, her close friend. Her grandmother Amalia Pradere a wealth landlady, takes the orphan under her protection. After a chain of events, disappearing her grandchild, Eugenia will take Amalita's place. She will inherit not only Amalia's possessions but also Ezequiel's love, Amalita's widower.

Deep within Buenos Aires's labyrinthine subway system, a train mysteriously disappears along with it's 30 passengers. The subway officials are greatly troubled and call in topographer Daniel Pratt to help them find it. Unfortunately, the tunnels are so vast and complex, that Pratt needs his mentor Hugo Mistein to help him. Unfortunately, he too has vanished.

Jose is an elderly rebel who, after being refused a withdrawal at a bank, returns with a gun and threatens to shoot himself if he doesn't get his cash. Pedro, a young teller, is disillusioned with his life and sees Jose's stunt as a way out when he pretends to be taken hostage, leaving the bank with the old man and a hefty amount of money. The unlikely duo become friends, picking up tough-girl Ana along the way, while avoiding the police.

Drama based on the life of Eva Peron, an obscure actress, who rose to become wife of Argentine strong-man President Juan Peron and one of the most powerful figures in Argentina until her death in 1952 at age 33.

A diplomat is sent to Wallachia late nineteenth century. There he meets a young princess. Back in Buenos Aires, and a century later and turned into a vampire, he meets another woman.

The film brings together the winners of the first edition of the Argentine National Film Board's (INCAA) annual public script competition, the grand prize of which is the budget to produce a short film. Eventually screened in national theaters, the omnibus film gave rise and recognition to a new generation of Argentine filmmakers known collectively as the New Argentine Cinema—a wave of contemporary filmmaking that began in the mid-1990s in reaction to decades of political and economic crises in the country.

An old man seems to direct the lives of the people who pass by on the street, under his balcony.