Carlos Sorin

Battling terminal cancer, a woman writes a one of a kind notebook about life, death and love for her son to remember her by. Based on a true story.

A collection of 10 short films made by known Argentine directors on the AMIA bombing of July 18, 1994.

Traveling dentist O'Connell traverses South America on his motorcycle for the 'Eversmile' foundation of New Jersey, in a fight not only against cavities, but also against fear, ignorance, indifference - and established antediluvian dentists. During a stop at a lonesome garage he meets Estella, who is supposed to marry a few days later. However she'd rather come with him - to meet a former boyfriend in another town, she says. Expecting problems, he refuses to take her, but she tricks him into it and then tries hard to convince him of her qualities and let her stay with him.

Patagonia, Argentina. A mechanic who dreams of a different life begins to think big after his adopted puppy Bombón wins first prize at a local dog show.

The film tells how in 1970 a group of Argentine filmmakers - including Alberto Fischerman, Rafael Filippelli, Julio Ludueña, Miguel Bejo, Jorge Cedrón, Dody Scheuer and Luis Zanger - decided to make a short film each in one night. The occasion is perfect to describe the atmosphere of the '70s, the fever in which militants and publicists lived, the clash between art and politics. Includes fragments of the films The Players vs. Ángeles Caídos (Fischerman, 1969), Shadows (John Cassavetes, 1959), Made in U.S.A. (Jean-Luc Godard, 1966), L'eclisse (Michelangelo Antonioni, 1962), The Hour of the Furnaces (Pino Solanas & Octavio Getino, 1968), Tire dié (Fernando Birri, 1960), Alianza para el progreso (Ludueña, 1971), La civilización está haciendo masa y no deja oír (Ludueña, 1974) and La pieza de Franz (Fischerman, 1974).

A recovering alcoholic travels to the untamed coast of Patagonia to reconnect with his estranged daughter in this gentle yet deeply resonant drama from Argentine writer-director Carlos Sorin.

Three people and a baby set off on separate journeys, along the same road; their disparate dreams and stories intertwine amidst the breathtaking deserted Patagonic route.

Unable to have kids of their own, Cecilia and Diego get a call from the adoption agency they registered to, some time ago. The sudden arrival of Joel, a 9 year old with a very hard backstory, will change the course of their lives.

Luis has just returned home after spending time in a neuropsychiatric, and Beatrice, his wife, he fears a relapse. The disappearance of the house cat and certain behaviors Beatriz Luis begins to grow increasingly suspicious of his behavior.

In this surreal (and little seen) Argentinean film, a rich upper class family's secrets are exposed during the course of an evening meal. Tensions mount as emotions run high and taboo subjects are explored such as incest and politics. As their dinner table conversation begins to escalate into physical and verbal altercations, the family awaits the arrival of a friend named Hallewyn. When the night is over, will their friend still be joining them?

Buenos Aires movie director, very fond of the legend of the King of Patagonia and Araucania, decides to make a movie about it. Despite of financial troubles, technical problems, misfortune and desertions, he undertakes the journey to Patagonia for the film with a second-rate actor company. Neglected by the producer and shortly after by the company, he will make the movie alone, in a surreal landscape like mad.

A pop group is chased by a gang of criminals who wants to seize the loot from a robbery.

A man tries to speak, but his mouth is covered. He then undresses and gestures with his hands, but they are tied. Next, he tries to dance a tango, but his feet are tied. He attempts to communicate by shaking his genitals, but they are held against his leg. Finally, he moves his nostrils, but they are pinned shut. Thus, he dies. Only surviving short from the National Film Meeting against censorship held in the Santa Fe Railway Union in November 1970.

M., a right wing priest, discovers through three key meetings - with the army, a bourgeois family and a "third-worldist" priest - that your ideology is out of time.

In 1971, the graphic and advertising artist Juan Fresán set out to film the story of Orélie Antoine de Tounens, the delirious Frenchman who 100 years earlier had proclaimed himself ‘King of Patagonia and Araucanía’, with his own constitution, currency and ministers. The film, titled "New France," was left unfinished, first due to lack of funds and then because its author had to go into exile. If the story is familiar to many today, this is because in the '80s Carlos Sorín made' The King's movie ', inspired by that frustrated shoot, in which he had worked as a cinematographer. In 2004, Fresán contacted Turturro to help him rescue the preserved film. Fresán died in that same year, but Turturro decided to retake the trace of that truncated film, exhuming unpublished materials, returning to their original settings and gathering testimonies, to illuminate the two stories - one within the other - that make up this true story, more strange and fascinating than any fiction.

A young Argentine learns that soccer star Diego Maradona is ailing in a Buenos Aires hospital, and resolves to bring him a tree root he's discovered.

It is a significant day for 80 year old Antonio. After an absence of many years, his estranged son is coming to visit. All must be perfect. There will be a toast with a very special champagne an embrace; warm words that may finally bridge the gap between them-- But before, Antonio must wait. Bedridden, he looks out his window at the Patagonian landscape and sees light and life, the past and the pr

A mockumentary about Doctor Kurz, the inventor of the BioK-2: a rejuvenating drug extracted from ñandús (rheas).

Cinematographic exercise by director Alberto Yaccelini, where through metadramatic procedures we are presented with the dilemma of the veracity of the documentary as a means of communication and reflection of reality. An apparently fragmentary, incomplete work that manages to fully reflect the complex personality of the protagonist. And, by extension, the complexity of personality.