Gonzalo Córdoba

Three young aspiring artists fly to Brazil to present their film at the Shortfilm World Cup. Reality and fiction merge to the point where the viewer might wonder if anything is actually real when there's a camera recording it.

A reflection on success and happiness from the observation of the world of amateur awards granted to artists and communicators.

The venerable VHS may have surprises. A strange spell captures the protagonists, who are friends, and submerges them straight into the world of the most implausible Argentine cop films. An amazing flow of images lost, forgotten and recovered whose consumption threatens to become addictive.

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

Federico Manuel Peralta Ramos was an artist responsible for the creation of a work that it was as ephemeral as it is eternal. He was born in a traditional family, but some years later the curiosity for the art scene, night life and avant-garde development pushed him to live within the iconoclastic and unbiased young 60's crowd.

After the theft of his motorcycle, Lucio bums aimlessly around Buenos Aires drifting from one arcade and record store to the next, indulging in short chats with friends and, more often, setting out onto the streets alone.

About Christmas, or about the construction of fiction, about the protagonists of the farce, about the exploited by the system, about the mercenaries of the performance; a film about angelic beings.

Documentary about an Argentinian dentist who is also an enthusiastic Super-8 filmmaker and his magnum opus, 'Winchester Martin'.

In One Hundred Paths: Suárez. Second Part the director accompanies Gonzalo, Rosario, Fabio and Diego thorugh Europe. The approach to the private world of the band continues in the old continent, but the best thing about this follow-up is the contagious excitement of the group on tour.

From a screeching lo-fi sound to luminous pop songs; from a split with Juana La Loca to a Le Mans tribute EP; from a cassette tape with a red star in the groundbreaking film Rapado to the lead singer's main role in Silvia Prieto. In sum: from 1989 to 2001, Suárez rode the scene and stages of Argentine indie rock with great freedom, elegance and intelligence. Also during all those years, its members recorded on video many of its intimate moments and public tours. Blanco wisely sticks to organizing and polishing that analogic repertoire without adding anything else, and he lets Suárez dazzling mystery reveals itself slowly amidst jokes, music videos, dodgy video-camera effects, and lots and lots of other answering machines.

This is the story of a successful family of artists and an unlikely blended family, told through what for some is the worst Argentine film in history and for others, an object of devotion.

It is the story of a child who overcomes the adversities of fate thanks to an inner force that protects him from the evil that reigns in a world inhabited by unscrupulous beings. His dream of playing the final of the FIFA World Cup in a light blue and white shirt will accompany him throughout his life. A story that shows the dark side of football.