Romántico italiano

Two children, victims of a controlling and violent stepfather, organize a plan to get their mother to abandon him.

A group of friends transform into ninjas when a curious situation arises.

A separated yet self-sufficient craftswoman puts up a friend who is also separating. The hostess has three teenage children, and the arrival of her guest will interfere with their domestic harmony, apart from slowly but surely causing a hormonal surge in one of the boys.

Victor, who lives abroad, must travel to his country of origin sent by the company where he works and will have only one day to visit his family who will do the impossible to honor him in that short stay. At that time, dramatic turns and touches of humor will occur to deep solemnities, within the traditional and beloved domestic bosom.

Néstor Varzé is a karate master from the outskirts of Buenos Aires who’s obsessed with samurai history and culture. And although as luck would have it he lives in another time and far away from Japan, he considers himself an heir to those ancient warriors.

A wedding invite from an estranged sibiling inspires a grandmother to assemble her family and embark on a roadtrip in a broken down caravan.

Clara and Alejandro move into a new house. A few days later, he goes on a work trip and she is left alone, surrounded by moving boxes. That chaos makes her accept a series of random invitations that will take her away from the hermetic world she lives in.

Short. A remote house in the Cape Cod area, october 1962…

A lonely and frustrated old woman offers a young student a deal that is difficult to fulfill: a house and food in exchange for a fluid daily conversation.

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 Fresán died in that same year, but Turturro decided to retake the trace of that truncated film, exhuming unpublished materials, returning to their original settings and gathering testimonies, to illuminate the two stories - one within the other - that make up this true story,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.

Sol, a 17-year-old teenager, moves with her mother to the Gonzalo's home, the actual mother's boyfriend. In this town, where from the beginning Sol only finds hostility, she must face bullying from her schoolmates and Gonzalo's harassment. While wandering the streets trying to find a way out, Sol meet a mysterious and magical female dog with whom she establish a symbiotic relationship. It be this dog, the one that violently and surprisingly, always appear to defend Sol until the last consequences.

Two women meet for a job interview that spills over into an intimate dialogue that encompasses their secret loves, fears, and dreams. Filmed entirely in a single shot and over the course of a single conversation, this one-of-a-kind indie won Best Argentine Film and Best Argentine Director at the 2013 Mar del Plata Film Festival.

While she faces the tough idea of breaking up with her boyfriend, Emilia moves to a downtown apartment. Among boxes and packed stuff, almost by chance, she starts living the life of the former tenant.

Underground and gay writer Carlos Correas left a number of questions after his suicide. A few manuscripts, a diary, letters, and the traumatic screen version of a short story promise to be the parts of a puzzle that pieces together the experience of an intellectual life painfully argentinian.

When a prominent researcher in the field of human memory returns home, he stumbles upon the fact that a man's past, as he remembers and tells it, is often nothing but fiction.