Marcelo Pitrola

Ramón Alvia is a professional boxer who, although he has won several international championships, is old and is at the end of his career. He resists. In the gym, Ramon discovers among the young boxers Deborah, a beautiful girl.

Gastón, an agronomist from Buenos Aires, settles in a thriving rural area to dedicate himself to his activity as a crop advisor. The struggle for his 16-year-old daughter, Vera, and his wife to adapt to the new life puts him in front of a dilemma that shakes the foundations of his work. What seemed like a new beginning becomes a present full of contradictions.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.

It is Christmas Eve and a man invites a little boy to dinner at a restaurant. But why?

Throughout the 20th century and beyond, the rooms of an Argentinian house are witness to very different inhabitants and mysteries. Filmmaker Diego Lerman takes the opportunity of a TV series to tell different stories in various artistic styles, collectively portraying the many faces and tribulations of one country.