A Simple Adventure

At the beginning, an objet trouvé: a video camera bought by the director at an online auction site during an extended visit to the south of France to see his girlfriend at the end of 2019. His voiceover explains that he found some footage still stored on the camera and wants to use it to make something for cinema. To do this, he has to obtain permission from the camera’s previous owner, an older man named Charles, who lives in Arles. As the rhyme already suggests, imagination could be at play here.

This comedy of errors revolves around a hapless 30-year-old named Arturo. His penchant for indiscretions is as impossible to overlook as the finesse with which the film glides from March 2020 to the preceding decade and back again.

Mariano, 16, inexplicably and without warning, shoots himself twice and improbably survives. Then, life goes on. His brother pursues a romance with a girl working at a fast-food joint, his mother takes off on a trip with a stranger, and Mariano recruits a woman to join his medieval wind ensemble.

BMX champion and 2018 Youth Olympic medalist Iñaki Mazza retired from his sport during a period of personal crisis. Years later, he returns to his bike, emboldened by a new quest, and reunites with his partner after their stint at a rehabilitation center in Tierra del Fuego. Mazza sets out on a 3,000-kilometer trek in a cinematic portrait that blends formats, pairing underground BMX footage with beautifully expansive vistas at the end of the world.

A Blank is a first-person documentary about the relationship between the protagonist-director Ramiro and his mother, Elsa, and how his upbringing in the countryside and the dramatic separation of his parents shaped his life today.

Ignacio Ceroi is trying to track down a man whose daily life he has been following through videos recovered from an old camera. Who is this man? And would he be pleased to know that he has dedicated a film to him? Would he be able to forgive him for his voyeurism?

Marco, Patricio and Lucrecia form a peculiar loving relationship. For Patricio this does not seem to be a problem; it is shown as a person willing to a fickle love. But Marco plays the role of the neurotic: he does not feel a taste in this triad, he chases the girl, questions his friend, bothers the relationship and shows his disagreement. This could go through a triangle to use, one more in the history of cinema. But sometimes the geometry breaks.

We are in the mid-nineties. Much of the western football world has to learn a new word: Qatar. There, in the middle of a mythological desert, a handful of boys from different countries and origins are going to play a Youth World Cup.