Diario de el loro y el cisne

A "cinematic object" by Mariano Llinás, divided into 9 chapters, based on the poetry of Henri Michaux.

A film about the Argentine opera

Gore short film directed by Hernán Sáez and starring Paulo Soria from FARSA Producciones.

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.

Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.

A young Argentinian woman who works as a museum guide uses her passion - reading - as a means of expression to channel the emotional and working lives of those around her.

Vicente has a hobby of breaking Guinness records. Years after making a record-length pancho, he organized an art and gastronomy residency to seek his second challenge: The largest empanada in the world.

María Villar, Cleo Moguillansky and Alejo Moguillansky tried to read live -perhaps sing- a voiceover narrative in sync with the projection of a deleted scene of The Little Match Girl, between fiction, essay, exhumation, failure, and the time that goes by and is unforgiving.

Martin moves around Buenos Aires at night, picking up guys, going to clubs, scoring drugs and having sex. Sometimes he’s paying and sometimes his trans sex-worker friend or another woman takes him along for a threesome.

A Chilean-Argentine intervention that mixes dance and cinema, in which outstanding dancers "come back to life" through their movements. They appropriate public and emblematic places in the city of Santiago that, paradoxically, are empty. Les Revenants is a work-installation consisting of six different dance solos, which were recorded in emblematic buildings in Santiago that were empty due to the pandemic. These records were projected in different places in the city -such as advertising posters, walls and screens-, in what was its premiere, during Santiago a Mil 2021.