Juan Villegas

On Christmas Eve, three friends buy a '73 Chevy, that ends up ruined that same night. They try (without success) to fix it. Throughout the summer, they live tangled situations of all kinds, until the carnival arrives and, mysteriously, the Chevy starts.

A critical memoir about revolutionary violence in Argentina in the 1970s.

By chance, Martin and Laura travel to Villa Gesell at the same time. They are not together anymore but 18 years ago they conceived their son, Pablo, there. Soon, situations as absurd as they are touching will arise from their encounter. Juan Villegas ventures into comedy and is back at Bafici with a nostalgic, intimate film.

Two young Colombians, Luna y Juan, live in the suburbs of a Buenos Aires without Argentines. Their relationship oscillates between tender gestures and violent explosions. Everything between them gradually gets more intense: their games, fights, recklessness and even their monotony. But something changes when Federica shows up that sets into crisis the fragile nature of their relationship, unveiling the decadence they have gotten themselves into.

Student council elections are about to be held at a school in Parana, Argentina and the two main parties are putting the finishing touches to their campaigns. As they present their positions to the student body, all the elements of political grandstanding are present and correct: quibbling over slogans, circular rhetoric, the benefits of an attractive candidate and the inevitable final mudslinging.

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.

Pablo, professor at the University of Buenos Aires, has an affair with Luciana, one of his students. Natalia, another professor at the University of Buenos Aires starts an affair with her student Gonzalo. Two stories, as two sides of the same coin.

Maria is a girl in her early teens whose family lives in an upscale gated suburb. Maria's parents are going out of town for a week, and rather than leave her with relatives or hire a babysitter, Maria is put in charge of looking after her little sister Sofia, with housekeeper Esther serving as a nominal adult authority figure, though for the most part she lets Maria and the others do what they please. With only their parents bedroom off-limits, Maria and Sofia have the run of the house, and soon they and their friends Facundo, Quique, Rodrigo and Timmy are spending their days exploring the place. As the kids begin creating their own rules to run counter to the ones their absent parents set down, Esther brings a young relative, Fernando, to play with them, and the privileged kids begin to get a notion of the ways of the outside world.

Rodrigo lives in Córdoba. He runs and manages his dad's cabins for tourists. Summer is around the corner. One day he meets seventeen year old Juan, who has just arrived into town all the way from Buenos Aires.

Robert Law is 30 years old and lives with the obsession of giving his first kiss and breaking a world record. While taking care of a house in the suburbs of Buenos Aires temporarily, he runs into Laura who accidentally steps on Robert's hand, and unbeknownst to her he decides to follow her through the streets and they strike up a strange friendship, deciding to beat the world record with her.

Between documentary and fiction scenes, Juan Villegas inquires about Adán Buenosayres, Leopoldo Marechal’s iconic novel.

A portrait of Javier Urondo and his discomforting, sharp and provocative take on the act of serving food. Paco Urondo, his father, was a distinguished poet and political activist, murdered by the military dictatorship in 1976. This is the story of Javier, of how he maintains the Urondo Bar, a restaurant in a Buenos Aires suburb, from where he lends new meaning to a legacy and a belonging and turns them into an act of resistance. A film about food as a source of culture and family.

One more Saturday in a desolate Buenos Aires hard to recognize. Six young people that try to avoid their solitude by complicating their daily routes, unsuccessfully looking for a glance that changes something or a new sensation that reveals them some sense. A couple used to their common tediousness, a girl who has already decided she wants to be alone, his boyfriend who does not know how to deal with that, a famous actor who does not seem to feel comfortable anywhere and a girl who pretends to get fun without realizing she's always bored.

Panzeri was an honest man, a critical journalist, a freethinker. He faced power and died alone and forgotten. Kohan is an outsider obsessed with doing justice, getting Panzeri out of ostracism and bringing him back to this world. Without Panzeri, football has only a few days to live.

A couple in a car, starting with a cigarette, begins a discussion as ridiculous as interesting. The lack of communication and lack of harmony, attributes that are exploited in love (or lack thereof).

Isolated in his apartment, old and forgotten by almost everyone —whom, in turn, he has also forgotten— Rafael occupies the hours of his daily life with various rituals and repetitions.

Continuing the series started with Intervened Events (2014), the Buenos Aires Film Museum presents the second feature film made entirely with material from its archives and by fourteen outstanding Argentine filmmakers. These are nine issues of Cine Escuela Argentino, a project created in 1948 by the Argentine Ministry of Education during the first government of Juan Domingo Perón. The latter promoted “the use of the cinematographer as a didactic assistant destined to complete the educational and cultural work, mainly in what concerns exalting the feelings of the nationality, with the heroic example of the heroes, Christian morality and the multiple civil duties, great and small”. Hence, most of the films produced by Cine Escuela Argentino were aimed at scientific dissemination and tourism promotion of the various regions of the country. (Museum of Cinema)

Short movie about communications and our expectations.

Tensions rise when a doctor (Daniel Veronese) pressures his teenage son to follow in his footsteps.

Victoria Morán is 36 years old. She has a family, a husband, a daughter, dogs and a house. And Victoria sings wonderfully well. She sings tangos and songs from other regions of Latin America. This is the portrait of a year of her life. Singing and life as part of an indivisible universe. A reflection on the complex links between money and art, between the intimate and the professional.

Twenty-something Ana, now living in Buenos Aires, returns to her native city of Paraná. She meets old school mates, old friends, makes new ones, and starts to rethink her life, and perhaps change her future.