Sabrina Moreno

An essay on the existential actuality of the human being located in the Argentinean here and now. A history of singularities, which are mostly traversed by violence and marginality.

An object crosses the paths of Alejandro and Soledad, a journalist and a young woman born on December 20, 2001. Together, they discover the traces of an event swept under the carpet by power, but present in Argentine popular memory.

In Exomologesis, the filmmaker and poet César González set out to show the consequences of a society governed by obedience and the consequences of this in times of neoliberalism. Unlike his previous films, in color and with many scenes shot outdoors, this is a black and white film that takes place in a two-room apartment, which allows us to see that an office can also be a closed institution.

A humble worker, several young thieves at dawn of violence, the dream of a better present that collides with the most cruel discrimination, a car that moves forward collecting the waste of the postmodern city.

Popular neighborhoods that are open-air prisons. Where beauty flirts with violence. The kingdom of the insubordinate children, veterans of the lead. A garden of amputated flowers, which with crutches on their backs, still grow and dance.

The new film by César González follows a maintenance employee at a printing house whose routine, almost as automatic as the movements of the company machines, is altered when she makes a decision that threatens both her job and her everyday life in the neighborhood.