Ezequiel Salinas

The hypocrites tells the story of Nicolás, a young cameraman who works filming social events, but doesn’t feel fulfilled with his profession. In the middle of a high profile wedding, he accidentally records a compromising situation between the bride, Martina, and her brother, Esteban. Realising about what is in the tape, he sees the opportunity of leaving his tedious life behind through blackmailing the people involved. However, he does not know this secret could endanger his own life.

Fleeing homophobic attacks, Nino moves to a rural house amidst a forest haunted by Almamula, a monster that takes those who commit carnal sins. In a world of whispers, unspoken desires and prayers, Nino’s curiosity and impulses rise to the surface.

Year 1866. Venancio, a young gaucho, embarks on a journey to escape from a curse through a war-torn region desperately seeking salvation among rustlers, priests, shamans and deserters. The stronger his fear is, the more real the legend becomes.

Nina and Fermín spend the night in the neighborhood where their father is a security guard. Between lights and shadows, they walk, play, eat. Nina observes others in silence, as though she were looking at herself in a mirror that is about to break. The night moves stealthily on, while other children watch them from their windows.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

The life of Juan José Gorasurreta is pierced by images. In his new feature film, the historic film society programmer appropriates the films that made him in order to find new relationships and patterns and thus generate a convergence between his personal life, that of Argentina and that of cinema. In The Absences his travels coexist with Orson Welles, activism, Fernando Birrri, the Cordobazo, his studies, Eva Landeck, family, Carlos Echeverría, the Trelew Massacre, Nagisa Ōshima, censorship, film societies, the Malvinas war, his short films. The randomness of this list vanishes as the film progresses, and gives way to a synapse that is as logical as it is moving. “It is a portrait on how Argentine history and my encounter with films designed my sensitive areas” —as he did with his own story, no one could define The Absences better than Gorasurreta himself.

Pelu is a thirty-something who barely survives on his salary as a projectionist at a municipal film club. After losing his job, he agrees to stay on as a night watchman and ends up living secretly inside the cinema, accompanied by the films he reviews every night.

Guillermo Franco photographs the same city every day of his life. He does so with an analog camera, stores the rolls for years, and develops them randomly. He archives the negatives and, some time later, rediscovers those images. Under a philosophy that prioritizes the emotional experience of looking, Franco builds, over time, an intimate cartography of his own gaze and, at the same time, a visual memory of his city. Pequeños ojos rescues his artistic process and reveals the essence of who is, perhaps, the greatest exponent of everyday life photography in Córdoba in Argentina.