The Daughters of Fire

Thirteen short films directed by thirteen directors, based on the recitals of Argentino en Vivo 2.

Aurora lives in the daily mix of furniture, norms and rules inherited from her parents from the 70s. A short film with still pictures and narration.

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

After her 27th birthday, Silvia Prieto decides to take charge of her life and make some changes. At the same time, she suddenly finds herself intertwined in the life of another woman who is also named Silvia Prieto.

In this genre-hopping road movie from Daughters of Fire director Albertina Carri, Violeta, the director of an amateur lesbian porn hit, is invited to make a mainstream crossover. With a budget and cast, but no firm idea where to go, the crew head off on a road trip in search of their perfect film.

In an Argentine village in the 1930s, the willful Leonor discovers that her beloved daughter, Charlotte, has dwarfism. Attempting to let her have as normal a childhood as possible, Leonor never discusses Charlotte's lack of stature, nor lets anyone else in the village ever mention it. As Charlotte grows up into a smart and self-possessed young woman, local eccentric Ludovico, who collects miniatures, becomes smitten with her.

This film follows the crisscrossed fortunes of, among others, a rock musician, a flight attendant, a dog walker with an alarming penchant for over-the-counter medication, and a cab driver, who doesn’t really care about his life spiralling out of control, as long as he can sit in his old Renault 12.

In 1977, when she was four years old, Albertina Carri's parents vanished without a trace, victims of Argentina's brutal military junta. In this fresh and politically daring film, the young Argentinian filmmaker attempts to unravel the mystery, piecing together her memories and fantasies in a quest to understand her parents' untimely fate.

A woman would rather forget her husband's forced disappearance at the hands of the government.

A noir vision of a paranoid and dangerous Buenos Aires where a group of diverse Porteños are fatefully linked by a brutal killing.

An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper middle class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

A married woman with a mute daughter has a forbidden relationship with the single father of a teenage boy.

Close-up on a man who censored films during the last military dictatorship in Argentina, slightly inspired by the infamous Miguel Paulino Tato.

An introspection and a poetic about who we wanted to be and who we have been, crossed with the reality of what we are and with the utopia of what we will be. A mosaic composed from the creative and aesthetic freedom of each of the filmmakers who participate in this setting.

Albertina Carri wants to make a film about Isidro Velázquez, an almost mythical outlaw figure from northern Argentina who was shot dead by police in 1967. She’s not the only one interested in him: her sociologist father Roberto Carri wrote a book on him called “Pre-Revolutionary Forms of Violence” and a film was made about his story, although both father and film disappeared during the Dirty War. Legends, families, political alignments, cinema: none offer a stable foothold and Carri’s passage through them is like wandering a garden of forking paths, only to arrive at a landscape of cracked earth and thorns.