Andrés Medina

Matías and his younger brother Jaime are left to their own devices in an adult world. When Jaime is caught stealing, Matías must convince a stranger to act as their father.

Creating a national park in the Brazilian state of Piauí dedicated to the preservation of what are apparently the first traces of human activity in the Americas has been archeologist Niède Guidon’s life work. SERTÃO, AMÉRICA is a contemporary take on a mythical territory of Brazilian cinema, once the cinematic realm of Glauber Rocha and other giants. The film pays a brief visit to the region, which is rendered in appropriately fragile analogue textures and deteriorated colours, as small fragments of the biographies of those who used to live there hover over the animal noises of the delicately crafted soundscape.

Noemí lives in the outskirts of Buenos Aires. She wanders the streets and draws in her notebook as he waits for a message from his boyfriend that doesn’t arrive. Noemí gets more and more desperate each day until her rage pushes her to the limit and she ends up acknowledging her strength.

Pablo and Florencia work on Florida Street, the economic and tourist epicentre of Buenos Aires. Economic difficulties affect their life together. Pablo, in order to survive, begins to clandestinely smuggle dollars in the street. Taking advantage of the imminence of a currency crisis they will try to strike the blow that will take them out from the street once and for all.

Informed by ruminations on sexuality, the societal norms we adhere to and powerful themes from the unique writing of magic realist author Gabriel Garcia Marquez, Mist (Bruma) sees a couple’s wedding day shattered by a vengeance born of jealousy and loss.

Nine-year-old Milo lives in a remote Argentinian village where he studies the Malambo, a folk dance full of bravura. He is an excellent dancer, but Milo’s only desire is to escape the countryside on a train for the Buenos Aires of his dreams.