Ellipsis, or Waiting for Barbarians

Over several days and nights, an actor and an actress read the correspondence between Torcuato and Kamala, the film director's parents, he from Argentina, and she from India. The letters, encompassing the decades from the 50s to the 70s, refer to love and idealism, record world travels, talk about socialism and psychoanalysis, about pain and broken dreams. Their reading reveals a relationship between the actors, with similarities and differences. Meanwhile, with his own daughter, the director sets about solving the puzzle of the family memory, an intimate twentieth-century tale.

In 1931, Federico García Lorca was appointed director of the student theatre company Teatro Universitario "La Barraca" ('The Shack'). Funded by the Ministry of Education of the Second Republic, the company was tasked with touring rural areas of Spain to introduce audiences to classical Spanish theatre at no cost. Utilizing a portable stage and minimal equipment, the troupe aimed to bring theatrical performance to populations with no prior exposure, with García Lorca serving as both director and actor.

In this documentary about the exile of two famous French actors in Argentina during and after World War II, the director Cozarinsky returns to Argentina after many years in France and recalls places and events from his childhood, particularly the celebration of the liberation of Paris on in August of 1944, in Buenos Aires's Plaza Francia. Featuring testimony from various authors and acquaintances of Maria (Renee) Falconetti and Robert Le Vigan, the film explores their lives and final years in Argentina.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

A cinematographic meeting of four writers who are also actors, directors, teachers and playwrights. This multiplicity of trades is related to the word and the common point of two episodes four that compõem or film. Four stories, four protagonists: two men, two women who reflect, in different ways, on writing, reading, the generational clash and the creative process.

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?

The political history of Argentine film censorship narrated through the professional career of Néstor Gaffet (1928-1982), lawyer, film distributor and producer, publicist, occasional screenwriter, critic and teacher.

1938: Shostakovich encourages his pupil Fleischmann to write an opera based on the Chekhov story 'Rothschild's violin'. Fleischmann is killed during the siege of Leningrad. Shostakovich completes the orchestration, but in 1948 is advised to suppress the opera, during Stalin's campaign against "rootless cosmopolitans". Jewish motifs enter Shostakovich's own work.

A comic strip detective and a superhero are hired to investigate separatedly the successive murders of CEOs within a real life corporation symbolizing a nation, while subversive groups and members of the establishment lead a war for power.

After a party, Agos and Ren find themselves in a strange place where they remember to have been before… A failed world bursting with dependences and doors leading to the same yet different place.

Navigating the triple border that separates fiction, documentary and essay, in Dueto, writer and filmmaker Edgardo Cozarinsky and actor Rafael Ferro expose, in a confessional manner, the bond they have shared for many years, not only recalling but also retelling a handful of common stories. Some of them have to do with the origin of their relationship, others with its extremes, from the most tense to the most playful. However, all of them converge in a common denominator that keeps them together despite everything. Dueto is the story of two men who, without any shame, allow their friendship to affirm, with conviction, its real name—love. One that is sometimes tender and light, other times possessive and rough, but always ready for a generous indulgence that doesn’t need that of the flesh. The two of them turn Dueto into an oath made of film, in order to honor the pact of that powerful shared feeling.

Chilean exiles in Paris discuss the problems facing them. They kidnap and attempt to re-educate a touring singer from their fatherland.

Michel, was born in Latin America, "on the other side of the world", as the script emphasizes, of a French father he hardly knew at all. He goes to Paris to start a new life. His only possession is a painting which his father left him, along with the advice: "If you ever need to sell the painting, do so in France, where it's worth a fortune." But Michel discovers that his father's tumultuous and secret past comes along with the valuable painting. Meanwhile, Clara, a middle age Spanish-Argentine mother gets a strange present from a now dying childhood friend in Buenos Aires. It's a roll of Super 8 film which brings back very strong, and emotionally charged memories from the 1970s and before.

A poetic investigation into the possibilities of cinema, recovering the truth of the things that are see on the screen and reminding viewers of the persuasive power of the image, that sensitive magma where the dead dance and find their voices again.

The protagonist, or "the visitor" is a French writer who goes to Tanger for a research on all the complexity the place has shown, since WWI, in terms of nationality, colonialism, ethny and ethics -- Tanger itself appears as a great challenge to frontiers in general.