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.

Mónica did not make a client's payments of the office where she works. The missing 15K pesos not only commit her but also a colleague, who is the one who discovers the fault. It seems that is not the first time that this happens, but the colleague, despite his anger, kept silence and chose to believe her again: Mónica commits to replenish the sum of money the next morning.

Students of different careers prepare to take final exams. Botany, anatomy, sociology, medieval philosophy, criminal law, morphology, theoretical physics and piano. Each one uses their own abilities to cope with the situation of oral exposure, the most common evaluative practice in the National Universities of Argentina. Throughout the waiting moments in the halls, between the drama and the absurdity of each exam, the subjects begin to find unexpected relationships.

Between January 2019 and May 2020, Adriana Lestido undertook a journey, without company or assistance, through the Arctic Circle and the Svalbard Islands, a frigid and inhospitable region shared by Norway and Iceland. During those months, Argentine photography recorded, in all its splendor, a still unknown ecosystem.

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

What if I told you the plot of Vertigo is true, but the story even more perversely rooted in the traumatic history of a dictatorship, in a nation’s obsession with a woman who became a goddess and a savior, and in the real-life attempt to reincarnate her in the body of her successor? Through supernatural means, Isabel Martínez de Perón attempts to extract from the embalmed body of Eva Perón the dose of charisma she lacks.

Map of Latin American Dreams explores the desires and hopes of individuals throughout Latin America. The project consists of many trips, beginning in 1992 and continuing through 2013, to Argentina, Cuba, Mexico, Peru, Nicaragua, Guatemala, Brazil, and Colombia.

In the 90s, members of the Wichí community of Gral. Mosconi, northeast of the province of Salta, searched for evidence and prepared the necessary arguments to face a judicial dispute that required them to demonstrate with evidence the possession and ownership of their property. territory. Indian Path is built from filming and testimonies generated at that time by the community itself, which introduce us to that complex process where, beyond the legal, the Wichí of Misión Tolaba put into play the ancestral notions of belonging to nature that give life and sustenance to mountain civilizations.

Julia returns to her hometown and the neighbourhood she left years ago after being swindled. She’s here to sign a permit to authorize her daughter to move in with her father, but more than anything, she’s come back to recover money that she left there, and which would solve a lot of her problems. Returning to her past is nothing like she expected it to be.

Argentina Buenos Aires, 1968. The boundaries between everyday life and art are blurry. While increasing political and institutional violence, artists try to transform their ideas into realities. The dictatorship plans to stay in power for a century with the self-assigned mission of “morally healing” Argentina’s spirit. Among broken artists, emerging pop stars, poets with metallic voices, and collectors running shady deals, Prat, a young and morally ambiguous upstart, is a new face in the art scene. Is he a service provider, an artist, or just another outcast? He meets Omar, an artist he admires, and Maria, a mystical anarchist hiding her oligarch lineage. The trio wanders through nightclubs, spontaneous fashion shows, psycho-magical group therapy sessions, and dinners in the rooms of bitter political figures. The backdrop is a collapse that seems imminent.

A senior couple lives isolated in Patagonia. They are the survivors of Colonia Dignidad, a German “School” settled during the Chilean Dictatorship. Their only purpose is to live in the present while battling the fear of being forgotten. Meanwhile, a woman facing an imminent loss of memory, tries to deliver a secret, asking for forgiveness for the guilt she has carried her whole life.

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.