Lisandro Rodríguez

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

An unlikely relationship forms between two young patients in a hospital.

Delfina returns from New York to a small riverside town in the province of Buenos Aires. There she visits a tomb of an older woman and one of a younger woman, named Julia, who is identical to her.

Luisa works temporarily babysitting children in a factory. For an inopportune occasion, they are left with their boyfriend in charge of a boy who accidentally suffers from drug poisoning. Luisa and her boyfriend will be involved.

In a snowy and industrial city in the south of Argentina, Paula, a 23-year-old girl from Buenos Aires, starts an intense job hunt with the sole purpose of saving money. The lack of a job, a home and a stable emotional environment will end up turning that search into a personal and introspective journey.

A comedy about the relationship between a modern, shy, young man and the spirit of a violent knife-killer murdered in 1920. They make a pledge: the latter will tell the former what exists beyond death if he allows him to inhabit his body for a whole day. Thus, the ghost will go around an unrecognizable twenty first century Buenos Aires to uncover the causes of his own death.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.