Luciana Acuña

Marcos Andrade likes parties and having an easy life. He works for a powerful businessman, accused of wrongdoing. When Marcos meets Natalia, his life changes and he begins to settle down. His boss hires thugs to get rid of him after he discovers his secrets. This will provoke the wrath of Marcos who will seek to do justice by his own hand. Hiding his face behind a mask and sheltering himself in the darkness of the night, Marcos enters the world of the businessman and begins a hunt that will bring him face to face with his enemy.

A Chilean-Argentine intervention that mixes dance and cinema, in which outstanding dancers "come back to life" through their movements. They appropriate public and emblematic places in the city of Santiago that, paradoxically, are empty. Les Revenants is a work-installation consisting of six different dance solos, which were recorded in emblematic buildings in Santiago that were empty due to the pandemic. These records were projected in different places in the city -such as advertising posters, walls and screens-, in what was its premiere, during Santiago a Mil 2021.

At the end of the world, we follow the only two remaining creatures: One covered in grass and one covered in hair.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

A miserable Argentine troupe of actors, dancers, musicians, filmmakers and a girl embark on a theatre tour to some country, probably in Latin America.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

In 2000 Alejo Moguillansky, Diego H. Flores and Fermín Villanueva filmed for three days aboard the ARA San Juan submarine. Twenty years later, Alejo Moguillansky edited that old material in this travel chronicle called The Submarine Night, narrated by Luciana Acuña and himself, written together with Mariano Llinás.

Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

A group of actors retire to an island in Tigre to rehearse William Shakespeare’s As You Like It and suddenly Luisa, who is playing Rosalinda, makes a bad decision.

An advertising creative dies unexpectedly while working on an idea for the launch of an anti-cold pill. From then on Pedro, one of his old colleagues, begins an intricate search in order to discover the departed's idea, taking over his place and making use of his original notes and thoughts. Along the way Pedro comes across an orphan, a street child that will unconsciously and eventually lead him to a new and singular idea.

The grass men - That's my duck! - Silence, Dvorak! -Kill that fly - Eat grass - Walkie Talkies - Fly fishing - The fan episode - Tourists under the bridge - The boat has a life of its own! - An American Anthem - The Canoe Ride Some blond idiots - Photo! - Hit the partner - Buckets falling from the sky! - Hunting in the mountains - The car has spasms - A flying umbrella! - Kicks in the butt - The top of the mountain - Tire throwing - The car goes alone! To catch a wheel - The river - A Cordovan quartet - Conservative throw - The water wells - Combat with umbrella - Trap with towel - Hip break - Gomerazos - Some children in the river - Drowning Kill the partner - A heron in the waterfall - Cross the river - He's a man of grass! - A shotgun for a deck chair - Shoot your neighbor - Aaaahhhh !!! - The last laugh - Dying, reviving and dying forever on the mountain

This film, Diario de el Loro y el Cisne, is one of the results of this process of writing directly over the images and sounds. It is made entirely from discarded material from the film Loro y el Cisne. I'm not entirely sure of the result. The only thing I can say about it is that it's extremely sincere.

Four characters are looking for a man called Castro, but we don't know why. For some mysterious reason, Castro is running. He has left his life behind, and survives by hiding in a room in a small city. He is basically alone, but someone has appeared in his life, Celia. She is young, beautiful, and sometimes cruel.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.