Alianza para el progreso

La familia unida esperando la llegada de Hallewyn

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?

La civilización está haciendo masa y no deja oír

Growing Up Suddenly

It tells the complex relationship of Milo, a teenager, and his old protector. Adaptation of "Around the cage", work of the writer Haroldo Conti, disappeared in 1976 by Argentine dictatorship.

La noche de las cámaras despiertas

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).

Historias de Cronopios y de Famas

Tensions between classes and genres, national and international, popular and formal, color and black and white, figurative and abstract revive the eternal discussion between opposites that the imaginary cronopios and famas represent.

Punto ciego

Ulises is a young and innovative documentary filmmaker who films from his window. Without a script, pure chance, any corner. He seeks total objectivity and little by little a series of small everyday stories begin to take shape. He is very sure of his idea, but at the same time very close to it. Thus, without knowing it, he is putting the camera where it should not. What if someone else was waiting for those images to put together "another movie" in which Ulysses ended up being responsible for a crime? A story of dense and dreamlike air, of suspense and seduction.