S.O.S. Ex

Following cuts to arts funding in Argentina, a cash-strapped producer, a canceled actress, and a depressed filmmaker come together to explore a musical about Medea. Joined by a Norwegian actress turned director, they travel to the Peloponnese, where old grudges resurface.

Two buddies' road trip is halted by car trouble in the middle of nowhere; they stumble on a derelict hotel and are inspired to try to restore it, with the help of an odd bunch of locals.

A couple of friends work for a taxi driver to rob his passengers, but they feel like they're getting ripped off. They decide to plan their own robberies, but they are amateurs and things don't go too well. One of the youths, Cordoba, whose girlfriend Sandra is pregnant, just wants to get enough cash so they can leave Argentina and get to Uruguay to start a new life. He and his friends plan one last robbery, but things don't go as planned.

Dámaso Pérez Prado, known as "el rey del mambo", came back from the dead to look for the love of his life.

A forgotten movie star learns that the director who made her fa-mous will be filming his last film in Paraguay so she sets out on an unusual journey in search of something more than just getting the leading role that she feels belongs to her.

While her filmmaker husband works in Chile, harried young mother Liz struggles to take care of her infant son. Feeling out of place amongst the tight-knit group of other parents at the park, doubted by her husband, and judged by her newly hired nanny, Liz is drawn to factory worker Rosa, a plain-talking single mother she meets at the swings one day. Despite Liz’s liberation upon finding a bold new confidante, the friends’ increasingly apparent class differences, along with swirling rumors about Rosa’s motives and muddy family situation, feed Liz’s suspicions that her new pal might be a sinister influence on her already fragile life.

Young Jorgelina feels estranged from her boy-crazy older sister, who has entered adolescence and doesn't want to hang around with little kids anymore. Finding refuge in their Boyita camper-van, Jorgelina travels with her father to the countryside, where her lifelong playmate Mario is undergoing some unexpected changes.

Sebastian, a man in his thirties, works a series of temporary jobs and embraces love at every opportunity. He transforms, through a series of short encounters, as the world flirts with possible apocalypse.

Nico is a famous actor in Argentina, but in New York, nobody takes notice. He needs to juggle bartending, babysitting and odd jobs to keep himself afloat. But when old friends from Buenos Aires come to visit, he needs to juggle the image of his old life with the reality of the struggling actor in New York City.

With BONANZA (FID 2002), his first film, Ulisses Rosell took us on a journey to meet a tribe of extremely colorful Argentinian poachers. This new dive into exotica takes us to the Wichi Indians in Chaco, Argentina, who have not long been sedentary, with an American ethnologist as our guide. To some degree a repentant ethnologist, John Palmer, rather than finishing his thesis, married a native and had a large family. Rather than observing it from a distance, he chose to become part of this discreet and beleaguered community. He strives to support their cause, getting involved in law suits and confronting companies which pillage land that belongs to the Indians with complete impunity.

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.

A team of advisers is brought in to manufacture the image of Marchand, producing social media profiles, commercials and a new public persona. Conflict arises when it is revealed that not everyone is who they present themselves to be. At his country estate, a rich businessman who wants to be president is groomed by a campaign team to create an image palatable to middle-class voters.

18-year-old Nacho shows up at the cow-breeding ranch of his father, Marcos, whom he barely knows. His father is worried because, as the ranch’s yearly auction is approaching, several cows are dying without explanation. When Nacho finds out who is killing the cows and why, he understands the magnitude of the problem. Cornered by distress and confusion, he’ll have to choose: being a boss or not being a boss. Perpetuating the system, the insult, the abuse, or refusing to take part in it.

After many years away, Ariel is summoned by his distant father to his childhood home in the bustling Jewish quarter of Buenos Aires, known as El Once. Over the course of seven days, during the vibrant holiday of Purim, Ariel seeks to reconnect with his father, who runs a Jewish charity and is regarded as a big macher in the close-knit community, but was frequently absent due to his obligation to fulfill the Jewish quorum of having 10 men present at all funerals.

It starts like this: a beach, a cliff, a pine tree forest, and a house made of stone. In the house, Virginia wakes up startled by a nightmare, and in the nightmare we can see her cousin Anabel with a deathly pale face and traces of blood around her lips.