Cínicos

A couple celebrates their 55th birthday in Ituzaingó.

Pedro, the father of the family, overcome with wine, embarks on futile ventures. María, the mother, transformed into an apple farmer, can barely bear her burden. Her teenage children, Bebo and Sole, have the destiny of suburban youth, between mischief and tragedy.

Apocryphal documentary about a supposed visit by James Dean to film a movie in Ituzaingó, a suburban town in Argentina near Buenos Aires.

Heber tender love between a Chinese boy who lives in Buenos Aires, and Jaqueline, a girl from the suburbs. She cares for him, protects and serves as a translator, although he already has three years in Argentina and speaks fairly good Spanish. On that happiness a shadow looms: Heber wants to emigrate, to find his sister in Canada. Love story in two stages: one contemplative, with lovers lost in their youthful love; other harder, threatened by the specter of separation.

Julia is a hairdresser, owner of a remisería, who goes out on a Sunday picnic with her family. The day does not propose anything different from her predictable daily life: the husband protests, the teenage daughter reads dance magazines and the son will be absent.

Graciadió will premiere in Ituzaingó and the show will reunite Violeta Naón and Gustavo Prone, its protagonists, who have not met again in the last eight years. Perrone takes the opportunity to make another film, Eight years later, the story of those two actors and their reunion. To preserve the truth of this new encounter between Violeta and Gustavo, Perrone filmed the entire film with unique shots, without repeating any. One of them a long flat-sequence of 25 minutes.

A trip of three friends to San Bernardo.

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

It is the history of a group of boys around twenty years old of the suburban district. They stroll for the quarter, look at videos, listen to rock. Nothing happens, but it goes on from everything and they are basically alone in the world. As well as there is another "American dream", there is another “Argentine dream”

This night, Ituzaingó, in the outskirts of Buenos Aires, exudes film and theater. Actors, actresses, directors, and producers parade like narcissuses of the underground in a world of jealousy, hypocrisy, idiocy, and so much more.

Nominal movie. Description of the world of young people of Ituzaingó, in which they survive and fight without going out of his locality dominated by pizzerias, lounges of pool and low houses.

A reworking of Waiting for Godot where two losers (Coco and Peluca) are waiting in an amusement park abandoned to a former occasional boss (Godotti) who owes them a small amount of money.

A portrait of five young workers from Ituzaingó during their summer vacation. The country's structural violence hangs like a dark cloud over them, and the sale of cocaine is a way to cope with the lack of employment and future prospects that have reduced their lives to mere survival. We see them mainly in a public park where they can play sports, listen to live music, or just hang out.

Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.