CQC - Custe o Que Custar

Algo habrán hecho is a documentary film for television that narrates the history of Argentina. It was created by the argentine historian Felipe Pigna, who acted as presenter. In the first two seasons Mario Pergolini was a co-presenter of it, but after giving up on all works on television his role in the documentary was taken by Juan Di Natale. Di Natale and Pergolini were by that time co-presenters of the talk show Caiga quien caiga. Di Natale pointed that he wasn't meant to act as if he was Pergolini, but the script writers wrote instead the scripts based on his own personality. The first season, aired in 2005 on Canal 13, narrates the history of Argentina from the british invasions of the Río de la Plata to the fall of Juan Manuel de Rosas during the Battle of Caseros. The second season, aired in 2006 on Telefé, resumes the narration from that point and continues up to the suicide of Leandro N. Alem in 1896. The third one, aired in 2008 on Telefé, resumes as well from the end of previous season and ends with the meeting of Juan Domingo Perón and Eva Duarte at the Luna Park during a fund-raising to help after the San Juan earthquake.

An inside look into the world's biggest moshpit, and Indio Solari, the artist that makes it happen.

Florencia is a singer and orphan, who falls in love with Federico, a businessman. They will be able to overcome all obstacles, but their love will take an unexpected turn.

The documentary reveals the narcotic effect the '78 World Cup had on Argentine society, when Kempes' goals masked the horrors of the dictatorship. Recalling the attitudes of Adolf Hitler at the 1936 Berlin Olympics and Benito Mussolini during the 1934 World Cup in Italy, the film argues that the 1978 World Cup was "one of the most blatant political exploitations in the history of sport." Through previously unseen testimonies, survivors' accounts, and previously unreleased archival footage, the film portrays the contradictory duality between the euphoria of a people passionate about football and the simultaneous horror suffered by the victims of a bloody dictatorship.

Amid the sweltering summer heat in northern Argentina, two middle-class families retreat to a crumbling country estate and a modest townhouse, where strained relationships, simmering tensions, and the presence of children and servants quietly expose the fractures of family life. Between idle days, gossip, and unspoken desires, the boundaries of class, tradition, and faith are reflected in their everyday interactions.

Set in Argentina in 1965, the story follows the tumultuous relationship between two men who became lovers and ultimately ruthless bank robbers in a notoriously famous footnote in the annals of crime history. After a large-scale hold-up that turns bloody, the two men must flee. It is not long before the police are surrounding the building they are in and they must confront their demons to survive.

Koshe Plostenko, a mafia man, is in charge of an underground fight club. In the name of his business, he proposes to kidnap the professional fighters of 100% Lucha so that they fight in his club.

Caiga Quien Caiga, also known as CQC, is an Argentine television show. Under the format of the production company Cuatro Cabezas, CQC has also been adapted in Spain, France, Chile, Italy, Brazil, Portugal and briefly in Israel and the Netherlands. It won an International Emmy for Best Non-Scripted Entertainment in 2010.

Gustavo "el Nene" Carrizo (Adrián Suar) is a con artist and opportunist, but he is also a friendly thief who wins people over with his incredible charisma and his desire to help others. He came to Argentina from Spain with the purpose of avenging the death of his father, assassinated by a gang of drug traffickers. And at the moment of carrying out his revenge, he ran into the police.

Antonio is a young man with Down syndrome who lives in a room in his neighborhood club; The buffet is also served there, always with a smile. But, in a matter of days, her routine is affected by a series of drastic turns: not only does she receive a million-dollar inheritance, but her mother dies suddenly and she meets a lawyer who seeks to take advantage of the situation. It is not illogical to believe that tenderness no longer has a place in cinema. At least an idea of ​​tenderness that can be thought of as outdated: one linked to solidarity and empathy in extreme circumstances.