Inés Duacastella

Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

In the wake of her best friend’s death, Adela embarks on a journey through time to a distant autumn, where Elena eagerly awaits, armed with detective novels and the warmth of a crackling fire. A tale of timeless sisterhood and celebration of life, Adela must confront her grief and unravel the mysteries that bind them together.

The Felpetos have managed a clandestine lottery business for decades. The family enterprise operates in a small housing development. Maribel leads a crew of clerks who log the bets from her living room. Alejandra, her mother, lives in an identicalhouse just a few meters away, which serves as the administrative office. Some lotto bankers have been raided lately, and the atmosphere in the neighborhood has become strage since. There has been talk about police dismissals and big-money movements. Nobody can tell what is true from the rumors or the news on TV

An investigation about a transmission parallel to that of man’s arrival to the Moon, captured by a radio ham from Avellaneda, confronts the director of Channel 54 with a series of conspiracy theories and mysterious figures. Doing so also means questioning the nature of the images.

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

A biography of Jorge Luis Borges working from an exhaustive review of the papers he left, the books he read, the places he went to. And with this, an attempt to decipher a very peculiar life: someone who lived like a hidden, underground warrior, whose cause was literature, literature conceived as a kingdom and as a landscape. If Cold War spies fought from their desks or from an uninhabited house to defend their half of the world, Borges strove from a library to elevate and broaden the territories of his own tribe: the people for whom the most important part of the universe is books, plots and words. This film is devoted to that secret pilgrim (to borrow from Le Carré, the king of all spies).

María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.

Ana introduces Ezequiel, her new boyfriend, to her parents, in a cabin in the middle of the woods on Christmas Eve. Ezequiel goes into the woods to look for firewood, and when he returns, she notices a change in him that raises questions.

Alex doesn't go to school and spends his day hanging around, seemingly free, doing what he was told not to do; Steven tries to hold down a job, but there's always a friend, a party, a problem; Kevin wants to escape the drugs and violence. Three young men face the harshness of Bogotá life while they wait, amid continuous failures, for a miracle.

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.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

The pandemic, images from the past, images in the trash, various animals, a wounded lion boy, musical neighbors singing an old bolero, a medicinal herb vendor making cooking videos. An experimental piece in collaboration with I Acevedo, Paula Trama, and Inés Copertino, commissioned by the Buenos Aires Queer Art Festival.

A few years ago a man appeared who claimed to speak an apparently lost language: Chaná. Soon dictionaries were published and the language could be completely recovered. This man also located the Chanás in the same place where the Volga Germans live today, in the province of Entre Ríos. Inspired by the book of poems of the same name, Big Shadow is the story of a group of friends who live in German villages while they prepare a film about the new language.

By chance, Martin and Laura travel to Villa Gesell at the same time. They are not together anymore but 18 years ago they conceived their son, Pablo, there. Soon, situations as absurd as they are touching will arise from their encounter. Juan Villegas ventures into comedy and is back at Bafici with a nostalgic, intimate film.

Silvia visited Moscow in the late 1960s, during the Soviet regime's heyday. There, she saw the structuralist-designed complexes designed to house working-class families. Upon returning to Buenos Aires, she discovered that the same collectivist spirit was embedded in the buildings constructed by the El Hogar Obrero cooperative. Embracing the ideal of socialism, Silvia abandoned everything, including her husband and children, to move into one of these apartments and write a novel in which she planned to portray its more than 200 owners. Shortly after, she traveled to Italy, and her trail was lost forever. Half a century later, a niece found her manuscripts and decided to bring to life on film what had been left unfinished in literature, combining archival material with scenes of the current inhabitants.

It is the first installment of a series of films titled Downtown Life, which is the result of the happy meeting of two friends who get together to film for the pleasure of walking and observing the city in which they live and where they grew up. What they see is the city that belongs to them, and turning that fact into a film is the way to share that belonging with others. Each observation, be it the movement of traffic at a street intersection, be it the force of the wind exerted on a branch, be it the rhythm of pedestrians at night, contains a form and a story and the confidence that they can be transmitted to whoever. be open to that contemplation.

In a snowy and industrial city in the south of Argentina, Paula, a 23-year-old girl from Buenos Aires, starts an intense job hunt with the sole purpose of saving money. The lack of a job, a home and a stable emotional environment will end up turning that search into a personal and introspective journey.

Julia returns to her hometown and the neighbourhood she left years ago after being swindled. She’s here to sign a permit to authorize her daughter to move in with her father, but more than anything, she’s come back to recover money that she left there, and which would solve a lot of her problems. Returning to her past is nothing like she expected it to be.

Julia and Diego spend a weekend taking care of Diego’s nephew, in a house far from the city. Everything goes on normally until Julia’s visit to the hospital changes completely their relation.

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

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…

Nothing went as planned: what seemed to be an original idea (taking an international fashion event to a small town in the Argentine Pampas) ended up as a mysterious affair, with a mannequin who seems to have vanished, and who insists on leaving small clues scattered across the immense plains. But nothing seems to be too strange for Commissioner Sirota and her particular method which, this time, includes a clairvoyant, a legendary detective arriving from Santa Rosa and some picturesque “peritas” who choose to work at night, swinging to the rhythm of Ska. In the middle, a disturbing question: Is it a police case they are dealing with, or is someone taking them (the police, the whole town, the Italians – all of us, perhaps) for a fool?

A sunny morning in Buenos Aires. All seems quiet, but then an odd race begins: a variety of people are after a backpack. A little army of seekers surprises us at every corner. Suddenly, a lonely bureaucrat (Mapache) is involved in this adventure, and new, mysterious and unknown people start to populate his life, all running around the popular Argentinian city to obtain the backpack which seems to be crucial to his own fate, according to the words of his new accomplice, magician and tarot reader Luminitsia.