My last adventure

César has been a watchman in a chemical factory for more than twenty years. One afternoon he receives a letter from his sister telling him that she has sold the family land in the mountains. César decides to abandon his job and undertakes a trip to that area, with the aim of recovering the urn with Elena's ashes buried there. Walking he faces the mourning veiled for years. The territory of his childhood is no longer the same, the forest fires, the advance of private property have changed everything. But the encounters along the way open him to a world that he had refused to face after living trapped in his job.

In 2017, young Mapuche Rafael Nahuel was killed by police in the Patagonian forest. Site visits, court proceedings – the film unites the elements involved in solving the crime. Meticulously observed: the struggle for civil rights and narrating history.

On 3 November 1995, the Rio Tercero Military Factory exploded in Cordoba, prompting thousands of projectiles to fire and spread in the surrounding villages, in a tragedy that would leave seven dead and hundreds injured and affected. At the time, Natalia Garayalde was a twelve-year-old girl who lived with her family near the place, and he was still playing filming with the video camera her father had bought, when she recorded the immediate moments of the burst, while her family escaped the explosions, as well as the daily activities of the village in the days and weeks that follow. Twenty-five years later, that material captured from a girl's candid and surprised gaze it becomes a thoughtful and painful testimony about the family, the destruction of a city, the traces of horror, the sinister truth about the case.

Year 1866. Venancio, a young gaucho, embarks on a journey to escape from a curse through a war-torn region desperately seeking salvation among rustlers, priests, shamans and deserters. The stronger his fear is, the more real the legend becomes.

Fleeing homophobic attacks, Nino moves to a rural house amidst a forest haunted by Almamula, a monster that takes those who commit carnal sins. In a world of whispers, unspoken desires and prayers, Nino’s curiosity and impulses rise to the surface.

A divorced taxi driver shows up with a black eye at the home of his ex-wife’s new family; he’s been invited to dinner and he desperately wants to reconnect with his young daughter. A professional magician’s car breaks down and he ends up spending an emotionally intense night with a young, widowed toll booth worker. A singer songwriter serving a lengthy prison sentence is released for one night to perform at a local community centre. These three deeply engaging stories about yearning for connection unfold in parallel, one New Year’s Eve in a small town in central Uruguay, balancing the universality of human suffering with a powerful sense of hope.

Julia, an ex-actress, and her daughter Emma, move into a mansion in a village of Córdoba, Argentina. It's winter and Julia has to get the house into shape to sell it. Despite the time to have passed since her husband and Emma’s father died, they are still in mourning. The days go by gloomily. Grief has made Julia quiet and cool with her daughter. One night, Julia runs into Gaspar, a life-long friend. Gaspar tries to convince Julia to take part in a theatre competition. Julia, Emma and Gaspar find a way to rebuild their lives by starting a somewhat shaky project to form a new type of family.

In the summer of 1987 in a town in Córdoba, two teenage sisters, Elena and Lucia, are alone at home. The youngest is upset with her older sister, who thinks about how to get out of that town, to study and to live differently.

Eva is just passing through Madrid. She spends her days there alone: she doesn't know anyone and isn’t particularly interested in getting to know new people. The city is therefore an unfamiliar place where she wanders aimlessly, her curiosity somewhat dampened. But one afternoon, at the Reina Sofía Museum, a man approaches her. His name is Dante and he is an Argentine historian researching labor struggles in his country and the career of Juan Bialet Massé.

The hypocrites tells the story of Nicolás, a young cameraman who works filming social events, but doesn’t feel fulfilled with his profession. In the middle of a high profile wedding, he accidentally records a compromising situation between the bride, Martina, and her brother, Esteban. Realising about what is in the tape, he sees the opportunity of leaving his tedious life behind through blackmailing the people involved. However, he does not know this secret could endanger his own life.

Through conversations with an array of Norwegian writers, filmmakers, psychiatrists, artists and more, Izquierdo investigates the impact of both the film and novel Sult by Knut Hamsun on generations of Norwegian culture and artistic practice, while exploring how it could speak about what it means to be an artist today.

Nina and Fermín spend the night in the neighborhood where their father is a security guard. Between lights and shadows, they walk, play, eat. Nina observes others in silence, as though she were looking at herself in a mirror that is about to break. The night moves stealthily on, while other children watch them from their windows.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

The life of Juan José Gorasurreta is pierced by images. In his new feature film, the historic film society programmer appropriates the films that made him in order to find new relationships and patterns and thus generate a convergence between his personal life, that of Argentina and that of cinema. In The Absences his travels coexist with Orson Welles, activism, Fernando Birrri, the Cordobazo, his studies, Eva Landeck, family, Carlos Echeverría, the Trelew Massacre, Nagisa Ōshima, censorship, film societies, the Malvinas war, his short films. The randomness of this list vanishes as the film progresses, and gives way to a synapse that is as logical as it is moving. “It is a portrait on how Argentine history and my encounter with films designed my sensitive areas” —as he did with his own story, no one could define The Absences better than Gorasurreta himself.

Pelu is a thirty-something who barely survives on his salary as a projectionist at a municipal film club. After losing his job, he agrees to stay on as a night watchman and ends up living secretly inside the cinema, accompanied by the films he reviews every night.

Guillermo Franco photographs the same city every day of his life. He does so with an analog camera, stores the rolls for years, and develops them randomly. He archives the negatives and, some time later, rediscovers those images. Under a philosophy that prioritizes the emotional experience of looking, Franco builds, over time, an intimate cartography of his own gaze and, at the same time, a visual memory of his city. Pequeños ojos rescues his artistic process and reveals the essence of who is, perhaps, the greatest exponent of everyday life photography in Córdoba in Argentina.