Eugenia Campos Guevara

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.

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.

Three films reflecting upon the way in which image and speech control relate to one another. Dallas is a Fire exposes the racist speech in the archives of the Dallas TV in 1970. Sent to Lie investigates the surveillance methods applied to the Qom indigenous community with the argument of preventing COVID-19. In Non-Stop, there’s an attempt to build over history and beyond the inaccessible images

On a bustling footbridge separating Argentina and Paraguay, where people traffic all kinds of things in a mix of Guarani and Spanish, we meet Angel. Over the course of the next ten years, Angel will have to make decisive choices for his future.

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?

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…

While she faces the tough idea of breaking up with her boyfriend, Emilia moves to a downtown apartment. Among boxes and packed stuff, almost by chance, she starts living the life of the former tenant.

From her own personal experience and from talking with her lifelong friends, Melisa (24) wonders about the mandates and prohibitions that mold the cultural construction of the female gender, especially in relation to the image. With humor and candidness, the film portraits a feminine world seen from the inside, from conversations, personal photos and home movies.