Adrián Caetano

Togo just wants to watch his neighbors' homes, wash their cars and clean up their sidewalks. But the drug traffickers want more from him.

Chile, September 1986. Tamara, commander of the communist guerrilla group Manuel Rodríguez Patriotic Front, and her comrades-in-arms set out to overthrow the military regime installed in 1973 by assassinating the dictator Augusto Pinochet.

Freddy emigrates to Buenos Aires in search of a more prosperous life. In his native country, Bolivia, he left his family. But the capital of Argentina is not the paradise he dreamed of, and much less for illegal immigrants like himself. But even with that, he gets a job as a griller in a restaurant.

The true story of four men who narrowly escaped death at the hands of Argentina's military death squads in 1977. Claudio Tamburrini is a goalie for a minor-league football team when he is abducted by members of the Argentine military police and taken to an unofficial detention center on the false suspicion that he is a terrorist. As he is tortured by intelligence agents looking for information he doesn't have, Tamburrini fully expects to be killed. After many sessions of brutal torture, Tamburrini and his fellow captives Guillermo and Tano are being readied for execution when, in a final desperate act, Tamburrini dives out a window during a rainstorm.

A collection of 10 short films made by known Argentine directors on the AMIA bombing of July 18, 1994.

The first version of the documentary produced by the Peronist militants Chino Navarro and Topo Devoto, which focuses on the figure of the former President Néstor Kirchner with archival images. This version was rejected by its producers, who commissioned a new one from the director Paula de Luque, which was the one that premiered in Argentine theaters. But a copy of Caetano's work was leaked online, and after his viewing by President Cristina Fernández it was decided that his post-production and subsequent dissemination will be completed.

A story about metaphor, exploring metaphor rather than a naturalistic or contemporary narrative, avoiding the discursive. It's not difficult to find the parallel between what happens and what actually happened: a family (us as a society) protected by a violent drunk (the government at the time), his wife and son, naked victims of their father's violence and impotence. The well-meaning bourgeois family (the cultural empire of good manners) seems to be restoring order when, in the face of such a situation, what they're actually doing is appropriating what they need under the guise of imperialist civilization. Reading it merely as a vampire story reaffirms this metaphor: out of our ignorance, we despise what conquers us, only for it to conquer us again without hesitation, with morality and good manners on its side.

Mariana doesn’t like her name and starts calling herself Gloria. Her parents split up before she was one year old and today, like many separated couples, they are brought back together under the same roof only because they don’t have a decent job. Cristina, her mother, rents a part of the house to her ex-husband for a bit of extra money. “Francia” talks about those people who will never travel far from their home, where they take refuge, for good or bad, from all disgusting things in the outside world. Meanwhile, Mariana puts on her headphones when she hears her parents fighting. Those fights which now serve as a relief to the helpless.