That Weekend

A young trans girl growing up in a small Patagonian mining town secures her dream job as a coal miner as soon as she turns 18, challenging an old superstition rooted in a folk tale that for 80 years forbid all women from entering the mine's underground galleries, fearing that their mere presence could trigger a collapse.

A woman and her 14-year-old daughter, who is a sleepwalker, in the midst of awakening. A marriage on the edges of a silenced crisis. A ritualistic, matriarchal, and endogamous family. Grandmother, siblings, cousins. A new summer, sweat, alcohol, traditions. Naked bodies, changing bodies, and the gazes upon those emerging bodies. A new New Year's celebration in the old historic family mansion is the trap for the sleepwalkers to finally awaken.

The story of Julián Lamar, an Argentine actor who tries to get a part in a North American western that will be shot in Argentina.

Marcos and his family work as ranch hands. While his father and brother handle the heavier tasks, Marcos stays home, close to his mother. Each one has their future laid out before them, yet Marcos bides his time waiting for Carnival, the one moment where he can let his true self out to shine. The sudden death of his father leaves his family in a very vulnerable situation. The ranch owner hounds them to go away, while Marcos’s mother pressures him to take over the work in the fields. Nicknamed Marilyn by the other teenagers in town, Marcos is a target for desire and discrimination.

Throughout the 20th century and beyond, the rooms of an Argentinian house are witness to very different inhabitants and mysteries. Filmmaker Diego Lerman takes the opportunity of a TV series to tell different stories in various artistic styles, collectively portraying the many faces and tribulations of one country.

Miguel (55), Isabel (45), and Emilia (9) go on vacation with their dog, Eve. Suddenly, an accident in the middle of the desert leaves the mother seriously injured. Miguel, trying to save Emilia, embarks on a personal journey with his daughter to find answers about what happened. Three months later, Isabel awakens from a coma and begins a personal, loving, and intuitive quest to rebuild her family.

Anna and León have their last night together in full celebration of her departure to Russia. She will go with his mother and he will remain in Buenos Aires. Anna asks León to do everything possible to stop that trip; Her life is there, next to him.

Silvia visited Moscow in the late 1960s, during the Soviet regime's heyday. There, she saw the structuralist-designed complexes designed to house working-class families. Upon returning to Buenos Aires, she discovered that the same collectivist spirit was embedded in the buildings constructed by the El Hogar Obrero cooperative. Embracing the ideal of socialism, Silvia abandoned everything, including her husband and children, to move into one of these apartments and write a novel in which she planned to portray its more than 200 owners. Shortly after, she traveled to Italy, and her trail was lost forever. Half a century later, a niece found her manuscripts and decided to bring to life on film what had been left unfinished in literature, combining archival material with scenes of the current inhabitants.

The year 2023 marks the 35th anniversary of the association La Mujer y el Cine, and 43 female directors have come together to deliver a fragment of their gaze, a frame, an aesthetic and ethical decision, a tribute to women who anticipated the struggle. A leap into the void made by women filmmakers of different ages and backgrounds. United, in a sort of electronic loom, as an offering and a legacy in which a moment in the history of Argentine cinema is told, where we were all one, with our eyes on the past, our gaze on the present and the horizon full of the future.