Chunchuna Villafañe

Buenos Aires, Argentina, 1983. In the last and turbulent days of the military dictatorship, Alicia, a high school history teacher, begins to ask uncomfortable questions about the dark origins of Gaby, her adopted daughter.

Three situations of vaguely theatrical origin, stripped of all outer clothing, reveal the track of a different cinema. whose realism seeps into the cracks of his apparently self-contained, closed world.

Micaela loves the nature that surrounds her, playing games and going on adventures with her friends. Then one day she learns of an evil plot to change the forest's colors to black and gray.

A man becomes overprotective of his daughter as a friend of his son comes to live at the family home.

Four woman of different generations. Their bodies and faces confronted with a tender and ruthless camera. Explicit and implicit movements; intimacy, shyness and extravagance in a mysterious choreography. A magnifying glass that explores and amplifies their moods, and silences: a shared loneliness.

Carmen Uranga is a 42 year-old woman who after 20 years jurisdiction of her native country (Argentina), she returns to solve a family problem related with the inheritance that her sick father wants to leave him. Their return trip results in the unavoidable memories of the torture that that was object during the dictatorship and a dramatic revelation.

The protagonist is Axel, aged about 40, a doctor who no longer practices his craft. He is living temporarily with his sister and her children. He doesn't do much, just exists a little between the living and their things. One day, he meets a young, pregnant woman. A relationship develops, a kind of love, and they live together, like driftwood temporarily clinging on to each other.

Peronist view of its history between the fall in 1955 and the electoral triumph of 1973 using a metaphor of the poem Martin Fierro.