The Rati Horror Show

An iconic bon vivant, who barely has enough resources to maintain his affluent lifestyle, hires a young woman from Paraguay to replace the recently deceased maid who took care of him for more than 40 years.

The life and death of the tropical singer Gilda.

The documentary portrays a behind-the-scenes look at the poor state of Argentina's civil aviation, and puts the blame on the Argentine Air Force. The Air Force has been in control of air traffic operations since the military takeover of General Juan Carlos Onganía in 1966. The producer/director, Enrique Piñeyro, claims Argentina and Nigeria are the only countries whose air force controls and regulates the airline industry. The film is heavily based on the Austral Líneas Aéreas Flight 2553 plane crash. Enrique Piñeyro takes his camera, secretly, into the control tower of the Ministro Pistarini International Airport also-known-as Ezeiza, the international airport at Buenos Aires.

We are in Argentina in 1977, a woman gives birth to twins. With the complicity of the midwife he manages to hide the child, second child. The first, a boy, is taken into custody by the regime's guards. The scene moves to the Milan of today. The young Rosa contacts Javier and tries to convince him that they are twin brothers, separated at birth. Thus, the two begin a journey to rediscover their origins and their past. A bitter reality is ready to overwhelm them ...

María is eighteen years old, she lives with her mother in an old house in Buenos Aires in 1978, subletting rooms and giving classes to poor illiterate adults. Suddenly she is abducted by a military squad and finds herself accused of subversion and submitted to torture in the hideous underground of the Garage Olimpo, while her mother desperately tries to find her.

An Argentinian intelligence agent goes undercover in the Jewish community to gather information, unwittingly preparing the ground for anti-Semitic terrorist attacks. Years later, he decides to bring the truth to light.

Whisky Romeo Zulu tells the story prior to the crash of LAPA Boeing 737 that on August 31, 1999, caught fire after hitting an embankment in the center of Buenos Aires, killing 67 people. The disaster changed the history of civil and commercial aviation in Argentina, and the film recounts, from the standpoint of the director, a former airline pilot-how in some countries the safety of the flight is incredibly precarious.

As an heiress to her family’s business empire, Sofía lives an opulent life free of responsibilities and commitments. But when her father passes away, Sofía is forced to return to her birthplace, Buenos Aires, to confront her rivalry with her two brothers and her father's secrets. In facing her complicated family legacy, Sofía sets out to prove that she’s more than a spoiled party girl.

After running into something with her car, Vero experiences a particular psychological state. She realizes she might have killed someone.

Veronica, a journalist from the newspaper Nuestro Tiempo, and her lover will begin a dangerous journey in search of truth related to the mysterious suicide of a train driver.

The journalist Andrés Oviedo must write about the murder of a young political activist Mariano Ferreyra for the magazine where he works. Oviedo performs a series of interviews and dialogues with familiars and friends of Ferreyra. The search for the truth and the motifs of the crime lead him to confront his publishers, who removed him from the case. In front of the arising complications, Andrés doubts to proceed with the investigation, but the support of his daughter, of the same generation as Mariano, helps him to continue. (FILMAFFINITY)

Argentine helmer Rafael Filipelli's understated and deliberate, slice-of-life drama Night Music (AKA Musica Nocturna, 2007) unfurls over the course of four evenings, with its depiction of an emotionally-strained marriage between husband and wife Federico (Enrique Pineyro) and Cecilia (Silvia Arazi), which Filipelli sets against the backdrop of semi-vacant, nocturnal Buenos Aires. He is a music critic pushing 50 and grappling with the completion of his first book; she is a playwright, in rehearsals for a major new production. Both have hit an emotional lull in their marriage that inspires each to coolly flirt with infidelity. As Federico flirts dangerously with the theatrical director's assistant, Cecilia reconnects at length with a past acquaintance, belletrist Sergio (Horacio Acosta), who may or may not have been amorously involved with Cecilia at one time.

In 1999, Argentina's peso craters. Ariel, a young man from Buenos Aires' Jewish community, deals with his mother's fatal illness, finds a job as a night shift surveillance camera monitor, and wonders when he'll discover sex. Santamaria, middle aged, loses his bank job and is dismissed by his wife; he finds stolen wallets in dumpsters to return to their owners. Ariel tells Santamaria's story to a TV reporter who profiles lives on the street. She's Laura, in a relationship with another woman, but perhaps available. Ariel desires Laura, while Santamaria courts Elsa, a washroom attendant who's husband is in prison. Christmas and Hanukkah approach; can anyone connect?

Argentina, the 70’s. One morning, several armed young men, dressed in military uniform, kidnap a Senior Army General and hide him in a modest cottage. There, without the hostage’s awareness of either the reason for his imprisonment or the people who planned it, the young kidnappers subject him to summary trial. In subsequent days, the military man will respond to an interrogation as severe as precise, that will lay bare the tense contradiction between two political and moral ideologies so incompatible that destruction surely awaits one of the opposite fields. The ending unveils a new chapter of a contemporary drama.

Lucio Bordenave carries on the Grey lifestyle of an unemployed worker, dedicated to the trade of watchmaking, until in a somewhat mysterious way, his wife is admitted to a Frenopatic Institute. From this point on, the story enters a territory without parameters where reality is confused with the imaginary, sleep with wakefulness, and insanity with lucidity.