Gaspar Scheuer

Six elderly retired women, two from Buenos Aires, Argentina; two from Montevideo, Uruguay; and two from Madrid, Spain, have something in common, despite their different interests and lives: they go to the movies almost every day.

With her girlfriend lying comatose in the hospital, after having found her lifeless body in the bathtub, Clara starts the path of physical and psychological transformation with the goal of possessing her girlfriend again in some way.

A Japanese immigrant (Nicolas Nakayama) and a war veteran (Alejandro Awada) search for an exiled samurai in the mountains of Argentina.

A young artist must move with his mother to an island, where there are only one hundred inhabitants. Your imagination, harmony with nature and love will be the keys to finding your identity on this path to adulthood that you have to go through.

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

After 140 years, there are alternatives to an asylum. Leaving Romero closely follows the experience of deinstitutionalization, focusing on the lives of the users and those who are the driving force of this process: the young people who make up the Movement for Deinstitutionalization in Romero.

A series of recordings that Antoine de Saint-Exupéry sent to filmmaker Jean Renoir are the starting point for reconstructing the love affair that the French writer and aviator established with the "Argentine princesses" Edda and Suzzane Fuchs, protagonists of the chapter "Oasis" in his book Tierra de Hombre and inspiration for his masterpiece The Little Prince.

Lila, a young Korean-Argentinean girl, navigates the contradictions of her identity and tries to find her place in the world. Her father, Antonio, arrives in Latin America 18 years earlier, and decides to bet everything on the promise of a young immigrant's dream.

Above all, Delfín wants to participate in a Children's Orchestra that is forming in a neighboring city. This trip will mean an adventure for him, and also for his father.

Her father drew and painted. He also created murals and recorded family life with a home camera. He was interested in the intersection of justice and beauty, in everything that enchants the passing of the day and in every event that politically shapes an era. He painted horror, mercy, and imagination; he drew diverse human figures with his brush, sometimes associating them with situations that provoke indignation at a world order that favors the few. This is how Melina Terribili portrays her father, Carlos Terribili, a prominent Buenos Aires artist whose murals, such as "The Grey Angel," epitomize his technique and ideology. Terribili uses diverse materials: those she filmed recently in excellent resolution and in the 1990s on video with lower resolution, as well as fragments filmed on Super-8 and video by her parents.

The grandson of sculptor Jorge Michel reconstructs the life and legacy of the grandfather he never met. He visits warehouses and collections on his trail. While he looks for the misplaced work, he assembles his own identity.

Eva perceives herself differently. An unexpected event transforms her. Her female universe put under tension, sustaining the unsustainable in the family structure. From that night on, everything will be different for her, even if nothing changes.

Negro is a dark film that portrays the light of its protagonist, Ortega, a meatpacking worker who finds in boxing the means to rebel against his boss's subservience. Ortega faces his last fight, the most important one, the one of honor, the one of life.

In a small street in Brussels there is an unusual concentration of pianists: on one side, the house of Martha Argerich; on the other, that of the Tiempo-Lechners, four generations of pianistic prodigies. At just fourteen years old, Natasha Binder is the heir to a dynasty, her last great promise.

Candela is a knife thrower in the town but an accident forces her to leave but behind it appears a bet with a surprising ending.

Argentinian sisters Elena and Natalia, who were separated, meet again in Texas in 1984.

Bego, a housewife in a mid-life crisis, lives bored and afraid of being inconsequential, however, her life evolves into a mysterious game once she enters into a cult that preaches three days of darkness...

Argentine filmmaker Andrés Habegger embarks on a deeply personal journey in this documentary, seeking to recover memories and information about his father, Norberto Habegger, a journalist and Montonero activist who disappeared in Brazil in 1978 during a joint operation between the Argentine and Brazilian military. Traveling to places that were part of his life and revisiting old photos and his childhood diaries, the director fills in the gaps in a family history that was interrupted.

In the near future, during a relentless summer break and with a solar eclipse approaching, 12-year-old Bego struggles to find her place within her family and among girls of her age. As the moon seems to eclipse the animals and people around her, she meets REN__, an online friend, who introduces her to “shifting” – a practice where teens believe they can enter other realities through lucid dreaming.

A journey of years through many countries and film festivals; a nostalgic, adrenaline-fueled and rock-spirited immersion into the universe of cinephilia, in search of genre specialists, fans and filmmakers who speak of their shared passion for fantastic cinema; a whole international spiritual community united under the cathartic shadow of horror.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world's most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina's road to ruin.