Santiago Sgarlatta

The story is centered on the human drama of three young people from a small town in Traslasierra, Córdoba, who from very different ideological places, are forever transformed by the war in Malvinas Argentinas (Falkland Islands).

A young policeman is assigned to non-operational tasks and forced to move to La Cumbre, where on his first night, he witnesses a crime. Now he needs to recover elements that could compromise him, so he gets involved in a search his new boss, Commissioner Fontana, is also part of.

As Ethel begins to develop dementia, she decides to share a secret with her grandson, and the story she has never told anyone will begin to become a part of him.

The hypocrites tells the story of Nicolás, a young cameraman who works filming social events, but doesn’t feel fulfilled with his profession. In the middle of a high profile wedding, he accidentally records a compromising situation between the bride, Martina, and her brother, Esteban. Realising about what is in the tape, he sees the opportunity of leaving his tedious life behind through blackmailing the people involved. However, he does not know this secret could endanger his own life.

Maria lives with her mother in a village in the interior of the country. She does the housework and works as a masseur in a room in the house. The mother is in a bad way because of an injury caused by Suncho, the dog in the house, and then Maria takes care of her demands. Florence, her younger sister, is moving to the capital with her boyfriend. The early arrival of the couple in the village, to finalize details of the move, triggers movements inside the house.

José María has an hour and a half to get ready for a date he has been looking forward to for months, but his apartment is invaded by his three friends, his brother, his sister, his mother and his new neighbor, the old love of his life. They all seem to have the same goal: to destroy the new life José María is trying to build for himself.

As if shedding his skin, Jorge celebrates a new birthday, in the midst of an internal struggle that will turn the evening into his most terrible nightmare.

The life of Juan José Gorasurreta is pierced by images. In his new feature film, the historic film society programmer appropriates the films that made him in order to find new relationships and patterns and thus generate a convergence between his personal life, that of Argentina and that of cinema. In The Absences his travels coexist with Orson Welles, activism, Fernando Birrri, the Cordobazo, his studies, Eva Landeck, family, Carlos Echeverría, the Trelew Massacre, Nagisa Ōshima, censorship, film societies, the Malvinas war, his short films. The randomness of this list vanishes as the film progresses, and gives way to a synapse that is as logical as it is moving. “It is a portrait on how Argentine history and my encounter with films designed my sensitive areas” —as he did with his own story, no one could define The Absences better than Gorasurreta himself.