Nicolás Abello

A group of biologist search for evidence of an unseen southamerican bear. There, they hear about the local legend of a bear-man known as the ucumar.

Ana transcribes the news of a crime committed a few nights ago in the city. Surrounded by her colleagues, Ana’s eyes perceive something strange; the killer’s look will be fixed on her.


José María has an hour and a half to get ready for a date he has been looking forward to for months, but his apartment is invaded by his three friends, his brother, his sister, his mother and his new neighbor, the old love of his life. They all seem to have the same goal: to destroy the new life José María is trying to build for himself.

After being unemployed for several months, Hernán attends a job interview to apply for a position in a call center.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

Ramiro is a bar cook. Hernán is an unemployed technician. Nora is a nurse in a public hospital. Lucia sells books in a bookstore. Four stories and a black and white city with persistent rain. None of them know each other, they are only inhabitants of the same city.

A man and a woman walk through the night of the city of Cordoba following clues left by an old man in a series of small wooden boxes. The clues reveal information about the city's statues and their mysterious links to local history.