Florencia Gómez García

In northern Chile, where the desert meets the ocean, a few solitary fishermen have made their home. Despite the arid land, the sea seems to offer them everything they need. It is a fragile balance, since this haven of freedom becomes an arena for military exercises every year.

It’s the 368th day of summer, night hasn’t come for three days. A group of friends spends the hottest summer in history out on the streets, amid power outages and a massive exodus abroad. Driven mad by the heat, they decide to sneak into the mansions of an empty neighborhood to try out every swimming pool they can find. But the heat is an infernal threat.

After 140 years, there are alternatives to an asylum. Leaving Romero closely follows the experience of deinstitutionalization, focusing on the lives of the users and those who are the driving force of this process: the young people who make up the Movement for Deinstitutionalization in Romero.

An Argentine director travels to the Falkland Islands to explore the traces of the 1982 war.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

Gastón, an agronomist from Buenos Aires, settles in a thriving rural area to dedicate himself to his activity as a crop advisor. The struggle for his 16-year-old daughter, Vera, and his wife to adapt to the new life puts him in front of a dilemma that shakes the foundations of his work. What seemed like a new beginning becomes a present full of contradictions.

On a bustling footbridge separating Argentina and Paraguay, where people traffic all kinds of things in a mix of Guarani and Spanish, we meet Angel. Over the course of the next ten years, Angel will have to make decisive choices for his future.

Antonio wanders the streets of Buenos Aires in search of money and sex. The magnetism he exerts on the people who cross his path allows him to steal and cheat them. Only his mother, with whom he has a confictual relationship, will get over his feeling of impunity and will push him to leave for a trip to the south of Argentina.