Gemini

Aurora

Aurora lives in the daily mix of furniture, norms and rules inherited from her parents from the 70s. A short film with still pictures and narration.

Bernarda is the Homeland

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

Silvia Prieto

After her 27th birthday, Silvia Prieto decides to take charge of her life and make some changes. At the same time, she suddenly finds herself intertwined in the life of another woman who is also named Silvia Prieto.

White Roses, Fall!

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

The Magic Gloves

This film follows the crisscrossed fortunes of, among others, a rock musician, a flight attendant, a dog walker with an alarming penchant for over-the-counter medication, and a cab driver, who doesn’t really care about his life spiralling out of control, as long as he can sit in his old Renault 12.

I Don't Want to Talk About It

In an Argentine village in the 1930s, the willful Leonor discovers that her beloved daughter, Charlotte, has dwarfism. Attempting to let her have as normal a childhood as possible, Leonor never discusses Charlotte's lack of stature, nor lets anyone else in the village ever mention it. As Charlotte grows up into a smart and self-possessed young woman, local eccentric Ludovico, who collects miniatures, becomes smitten with her.

The Blonds

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

A Wall of Silence

A woman would rather forget her husband's forced disappearance at the hands of the government.

Mi mejor escena

Anger

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

The Eyes of the Scissors

Close-up to a man who censored films during the military dictatorship in Argentina, slightly inspired by the infamous Miguel Paulino Tato.

The Daughters of Fire

Three women meet by chance at the end of the world, in Argentinian Patagonia, and set out on a polyamorous journey, caught up in the search for new kinds of relationships, far from possession and pain. They become the Daughters of Fire, a band dedicated to helping those women who look for their own path to erotica.

Restos

An introspection and a poetic about who we wanted to be and who we have been, crossed with the reality of what we are and with the utopia of what we will be. A mosaic composed from the creative and aesthetic freedom of each of the filmmakers who participate in this setting.

Intervened Archives: Cinema School

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)

Rustlers

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.

Karakol

Whale Rider

A contemporary story of love, rejection, and triumph as a young Māori girl fights to fulfill a destiny her grandfather refuses to recognize.

Take My Eyes

One winter night, Pilar runs away from home. With her, she takes only a few belongings and her son, Juan. Antonio soon sets out to look for her. He says Pilar is his sunshine, and what's more, "She gave him her eyes"...

The Virgin Suicides

A group of male friends become obsessed with five mysterious sisters who are sheltered by their strict, religious parents.

The Dreamers

When Isabelle and Theo invite Matthew to stay with them, what begins as a casual friendship ripens into a sensual voyage of discovery and desire in which nothing is off limits and everything is possible.

Me and You and Everyone We Know

Single dad Richard meets Christine, a starving artist who moonlights as a cabbie. They awkwardly attempt to start a romance, but Richard’s divorce has left him emotionally damaged. Meanwhile, Richard’s sons—one a teenager, the other 6-years-old—take part in clumsy experiments with the opposite sex.

The Cave of the Yellow Dog

The little nomad girl, Nansal, finds a baby dog in the Mongolian veld, who becomes her best friend - against all rejections of her parents. A story about a Mongolian family of nomads - their traditional way of life and the rising call of the City.

Singapore Sling

Singapore Sling is chasing after Laura, a romantic memory from his past. One night he finds himself in a mysterious villa, watching two women bury a body. He falls into their trap and, in an atmosphere of isolation and decadence, the trio act out insane pleasure games and a ritual of blood and murder.

Copying Beethoven

A fictionalised exploration of Beethoven's life in his final days working on his Ninth Symphony. It is 1824. Beethoven is racing to finish his new symphony. However, it has been years since his last success and he is plagued by deafness, loneliness and personal trauma. A copyist is urgently needed to help the composer. A fictional character is introduced in the form of a young conservatory student and aspiring composer named Anna Holtz. The mercurial Beethoven is skeptical that a woman might become involved in his masterpiece but slowly comes to trust in Anna's assistance and in the end becomes quite fond of her. By the time the piece is performed, her presence in his life is an absolute necessity. Her deep understanding of his work is such that she even corrects mistakes he has made, while her passionate personality opens a door into his private world.

The Cider House Rules

Homer is an orphan who was never adopted, becoming the favorite of orphanage director Dr. Larch. Dr. Larch imparts his full medical knowledge on Homer, who becomes a skilled, albeit unlicensed, physician. But Homer yearns for a self-chosen life outside the orphanage. What will Homer learn about life and love in the cider house? What of the destiny that Dr. Larch has planned for him?

In My Skin

After a disfiguring leg injury, a young woman develops an unsettling secret relationship with her own body in which pain is pleasure, mutilation is love and hungers of the flesh have a mind of their own.

The Secret

Marie, who works as a successful door-to-door encyclopedia salesperson, has been married to her husband Francois for 12 years and has a two-year-old son. Though she is relatively content with her life, she feels something is wanting. Enter 50-year old African-American Bill. Initially she is annoyed by his insouciance, but she finds that she is irresistibly attracted to him. Soon the two are in the midst of sordid illicit affair. She knows little about her new lover, and he seems uninterested in learning about her, but the long sessions of lovemaking are something else entirely. Feeling out of control, Marie is increasingly repelled by her own actions. Psychologically, she struggles to reconcile her torrid encounters with Bill and mundane domestic chores such as bathing her son. Moreover, she finds herself incapable of hiding her adulterous behavior, rather she comes home with scratches and hickeys all over her body, to the devastation Francois.