Herencia

A woman, Luisa, and her 14 year-old daughter, a sleepwalker in the teenage awakening. A marriage at the edge of a silenced crisis. A ritualistic and endogamic family: grandmother, siblings, and cousins. Summer, sweat, alcohol. Naked bodies, bodies in transition and their gazes upon those new bodies. A New Year’s celebration in the family’s ancestral country home is the necessary trap to awaken the sleepwalkers.

Does love at first sight exist? This may certainly be the case, but sometimes you need time to be sure of this love. This film describes such a story about getting to know somebody and falling in love as a teenager, and about meeting again many years later. It begins in the 70s, in the summer in a small town by the river. Bruno and Lalo are teenagers and good friends. They hang around together in the heat, until one rainy day Lisa turns up, a beautiful young woman who capriciously and quick-wittedly turns the heads of both boys - and then decides on one of them. Three decades later she is back again and finds the friends from her youth living in differing situations. "I am single now", she says, but I can't get the picture of the three of us out of my head. No, she is certainly no longer the same Lisa for both men as she was back then. The pictures and memories that one had of one another, are these still any use in the present? What was it like back then, this love? What did we want, what happened to us? They ponder these questions in front of the camera, giving voice to their memories. How does a love story and history fit together? Can you carry on where you left off three decades ago? These and other questions are pondered by this film about making friends and falling in love as a teenager, and of meeting again many years later. The wonderfully easy-going triangle of their adolescence can probably not be revived. But what about unique and true love from back then? Paula Hernández’ film is also an experiment about how feelings are linked to the spirit of the time the ups and downs of life, in which light, air and sun play a not insignificant role. An intensive, thoughtful, atmospherically very emotionally intoned film about love and about time, which gives this love a new dimension.

On a chaotic Friday in Buenos Aires, Alma and Roberto meet in the pouring rain. In the middle of the traffic chaos, the door of Alma's car opens. Roberto gets in, injured and wet to the bones. "Please close the door! As soon as this is all over, I'm getting out." Without knowing why, Alma does what Roberto asks her to do. They have no idea that this sudden and unexpected encounter will change their lives. Alma made aimless rounds in the city in her car before, and Roberto wanted to find himself. None of them know what to do or how to progress in their lives. Alma and Roberto - excellently played by Valeria Bertuccelli and Ernesto Alterio - are people like all of us, vulnerable and therefore grow close to our hearts.

In 2006, a group of thieves performed what is considered one of the most famous and smart bank heists in the history of Argentina. How they robbed the Rio bank is as surprising as what happened afterwards. This is their story.

Mariana, Martìn and the city of Buenos Aires. Martìn and Mariana live across from each other on the same block, but never meet. They pass each other, not knowing about the other’s existence. She goes up the stairs as he goes down the stairs; he gets on the bus just as she gets off the bus. They go to the same video rental shop, but a video rack separates them; they sit in the same row at the cinema, but the auditorium is dark. The city brings them together, and, at the same time, keeps them apart. Director Gustavo Taretto told the story of Mariana, Martìn and the city of Buenos Aires once before: «MEDIANERAS is a short film that received 40 awards worldwide - a short film with a feature film hidden inside. Our aim is to bring the feature to light. In the film EL SOL DEL MEMBRILLO (QUINCE TREE OF THE SUN), Víctor Erice reflects, among other things, upon Antonio López’s obsession with painting a tree that he had planted and seen growing in his garden. The tree changes with the passing of time, the seasons, and especially in different shades of light. MEDIANERAS is my tree. I planted it over four years ago, and I’ve been watching it grow since then. Following the analogy with the painting, the short film unveils the gesture in the stroke, the artist’s palette, the trunk which holds it in place, the main branches and the colour of its leaves. Now, with the feature, the moment has arrived for going into detail, for exploring depth and hues, ambiguities and contradictions. The story changes in exactly the same way as the city that serves as its setting: Buenos Aires. Some of the scenes wither away, while others bloom.» (Gustavo Taretto)

In a town in the Northwest of the province of Buenos Aires, a group of neighbors is organized to recover the economy of the area, but when the Corralito is implemented in the country and they suffer a fraud, their hopes disappear. Now, they will unite to recover the lost money and give the blow of their lives to their greatest enemy.

An aging, Argentine, Serge Gainsbourg wannabe struggles to deal with a career he can't seem to get on track, an affair he doesn't want, and a crime he didn't mean to commit.

A journey through the vastness of the Argentine desert and what appeared to be the end of the road will become the beginning of a new life.

A young man living in a cold southern village in South America, decides to start a trip looking for his father. By doing this he discovers unexpected facts about his Latin American essence.

A comedy that chronicles a chance encounter between Robert and a Chinese named Jun who wanders lost through the city of Buenos Aires in search of his uncle after being assaulted by a taxi driver and his henchmen.

Life is no bed of roses for 52-year-old Juan "Coco" Villegas. He, who has been a gas station attendant for twenty years in Patagonia, finds himself jobless overnight. He first tries to survive by selling knives of his own making. But business is bad and he can't find real work. One day though, after fixing a vehicle on a farm, he acquires a beautiful Argentinian watch dog. From this blessed day on, things start shaping well at last...

Buenos Aires, November 2001. Argentina is embroiled in crisis, with the Peso plunging deeper and deeper. Julio Färber (Diego Cremonesi), the charismatic bandoneon player of the "Vecinos de Pompeya," a five-piece working-class tango band, is trying to keep his head above water, but every month he is earning less and less from their gigs as well as from the traditional shoe shop he inherited from his father. At the very moment he takes the decision to leave his beloved Buenos Aires forever, it clearly appears that life is conspiring against him: overnight, the government freezes all bank accounts in the whole country, preventing Julio from purchasing the flight tickets and sparking violent protests throughout the town. And Mariela (Marina Bellati), a witty young woman and feisty cab driver, bumps into his car at full speed, damaging Julio's last possession of value before stealing his heart. "Adiós Buenos Aires" is German Kral's feature film debut and was inspired by the real and tragic events that shook Argentina at the end of 2001.

In 1999, retired Argentinian federal justice agent Benjamín Espósito is writing a novel, using an old closed case as the source material. That case is the brutal rape and murder of Liliana Coloto. In addition to seeing the extreme grief of the victim's husband Ricardo Morales, Benjamín, his assistant Pablo Sandoval, and newly hired department chief Irene Menéndez-Hastings were personally affected by the case as Benjamín and Pablo tracked the killer, hence the reason why the unsatisfactory ending to the case has always bothered him. Despite the department already having two other suspects, Benjamín and Pablo ultimately were certain that a man named Isidoro Gómez is the real killer. Although he is aware that historical accuracy is not paramount for the novel, the process of revisiting the case is more an issue of closure for him. He tries to speak to the key players in the case, most specifically Irene, who still works in the justice department and who he has always been attracted to but never pursued due to the differences in their ages and social classes. The other issue is that Gómez is still at large, no one aware if he is alive or dead. But as Pablo at the time mentioned that passion is one thing that cannot be changed in behavior, Benjamín learns now that that premise still holds true.

Sebastián (Rodrigo De la Serna, THE MOTORCYCLE DIARIES) is a slacker who is not keen on getting a proper job, much to the disappointment of his wife. When Sebastián and his wife move to a new apartment, they constantly get wrong phone calls intended for a car service company. One day, Sebastián impulsively decides to answer the phone and pretends to be employed by the car service. Just like that, Sebastián has a new job and enjoys driving people in his beloved vintage Peugeot 505. He isn’t fond of one of his passengers, an elderly man named Jalil (Ernesto Suárez) who depends on Sebastián’s car services quite a bit; then one day, Jalil asks Sebastián to drive him almost 3000 kilometres, from Buenos Aires to La Paz, Bolivia. Sebastián agrees only for the money but as the two men take the long road journey, they encounter unexpected challenges which change their lives.

Oliverio is a young poet living in Buenos Aires where sometimes he has to sale his ideas to an advertising agencie in order to make a living or exchange his poems for a steak. One night he meets a prostitute in a bar in Montevideo. Her name is Ana and soon he falls in love with her. Back in Buenos Aires, he accepts a contract with a publicity agencie to get the money for three days of love with her. Will he get what his searching for when his ideal of love's pleasure is literaly going in levitation while making love?

Argentina in 1975: While a wave of political violence is overrunning the country, lawyer Claudio Mora keeps his usual pace - until one evening in a restaurant he gets into an argument with a strange man with dramatic consequences. The next day Mora has almost forgotten the incident. But then a private detective appears and begins to ask uneasy questions.

A film that pays tribute to the history of cinema, via six episodes inspired by the different forms of cinematic art. Each episode has a genre. The first episode could be regarded as a B movie, the kind that Americans used to shoot with their eyes closed and now just can’t shoot anymore. The second episode is a sort of musical with a touch of mystery. The third episode is a spy movie. The fourth episode is difficult to describe. The fifth one is inspired by an old French film. The last one is about some captive women in the 19th century who return from the desert, from the Indians, after many years.

In the sorrow of exile, a group of Argentinians in Paris seek solace and connection to their culture by staging a set of tangos. The film alternates between their vibrant rehearsals and their circumscribed lives in low-rent apartments, underemployed, fitfully communicating with families back home, trying to make do with what they hope are only temporary arrangements in a foreign land. Director Fernando Solanas had to spend several years in exile, some of them in Paris. There he tells us the story of people from Argentina spending their time in Paris and longing for Buenos Aires. One of the strongest movies about living in exile.

1983. Alicia, the mother of an adopted 5-year-old girl, teaches history in a Buenos Aires high school. Both in her profession and in her private life she has always accepted the "official version," until one day when the regime's façade and that of it surroundings begin to fall to pieces around her. In the crevices of this enormous lie Alicia suspects that Gabi, the girl she has adopted, might be the daughter of a "desaparecido." It is then that she begins a painful and inexorable journey towards truth - a journey in which she might lose everything. All of these individual adventures are part of a dramatic larger one: Argentina itself, a society which, bordering the abyss, tries to reconstruct its future, examining its wounds, recognizing itself in its victims and their executioners.

South is a film by Fernando Solanas about a forced exile - here it he talks about the return of imprisonment - and a painful reunion in the midst of political turmoil. It is a story about the healing power of nostalgia. The story is set in 1983 just after the fall of the military dictatorship and the restoration of the democracy. Floreal is released from prison and returns in the evening, but rather than returning straight home to his wife Rosi, he decides to wander around to gather his thoughts and sort through his mixed emotions concerning not only the deaths of his closest friends, but also the lonely, long-suffering Rosi's affair with Floreal's best friend Roberto.

The Film of the King is a film within a film. Influenced by travel accounts of his time, the Frenchman Orélie Antoine set off for southern Argentina around 1860. Once there, he had himself proclaimed king of Araucania and Patagonia what led to his expulsion from the country by the Argentinian government. More than one hundred years later, Carlos Sorín turns this absurd venture into the story of a film director who wants to make a film abut it and fails in light of certain circumstantial adversities. Out of the film about the adventurer emerges the adventure of a film.

To celebrate the centenary of Jorge Luis Borges' birth, Tristán Bauer has created a very stimulating film essay: Skilfully, respectfully and poetically, he mixes archive documents, conversations and photographs of the writer's life, which reflect Borges' political stance, his problems with the Perón regime and his international successes. Tristán Bauer does not limit himself to a historian's work, he subtly reconstructs the writer's world: infinite fountains of the strange library of Babel, numerous corridors, circles, mirrors, stairs and hexagons.

Juan Desouza is a 38 years old argentinean businessman, whose life is going to change after a simple business trip: having arrived at the destination, he realizes that the man that sits next to him is dead. Thereupon he decides to adopt the identity of his neighbour, to create himself a new job, find a new apartment and to possibly not return to his own life. Suddenly Juan experiences nature as an adventure, discovering his senses and instincts. And after all new perspectives open up: His previous life suddenly isn't the only possibility anymore...

Zama, an officer of the Spanish Crown born in South America, waits for a letter from the King granting him a transfer from the town in which he is stagnating, to a better place. His situation is delicate. He must ensure that nothing overshadows his transfer. He is forced to accept submissively every task entrusted to him by successive Governors who come and go as he stays behind. The years go by and the letter from the King never arrives. When Zama notices everything is lost, he joins a party of soldiers that go after a dangerous bandit. Adapted from Antonio di Benedetto's 1956 classic of Argentinean literature.

Marita is a supervisor at the Colegio Nacional in Buenos Aires, the establishment that trains the country’s future elite. She is 23 and wants to do things right. Mr Biasutto, the head supervisor, immediately sees in her the zealous employee that he has been waiting for and teaches her to become the vigilant eye attentive to everything but that avoids attracting the attention of others: the invisible eye. Marita then throws herself into the relentless surveillance of this tiny, closed world, imagining, detecting, pursuing...

In Buenos Aires, a few days before traveling to Spain with his beloved wife Liliana Rovira to visit their son Pedro, the leftist Literature professor Fernando Robles is compulsory retired in the University, and he concludes that it is impossible to live with his pension. The crisis in Argentina does not allow Fernando to get a new job, and his wife decides to sell her family's apartment and move to a small farm near Villa Dolores to reduce their expenses. Fernando comes up with the idea to grow lavender and sell the oil to the perfume industry.

This documentary is a poetic journey to the unique music of the Argentine maestro Eduardo Falú (1923 - 2013). At the same time it is a vivid portrait of this outstanding musician. Starting from his particular relationship with the landscapes of northwestern Argentina, with his beloved hometown Salta, with the vast plains of the Pampa, the enormous mountains of the Andes with their dramatic canyons, fertile valleys and deserted high plateaus, the film follows the manyfold stations of Falús life and career.

Inside the Argentinian highlands, a native llama herder follows the traces of an invisible puma who is killing his livestock. Through his search, a mystical exchange is revealed between him, his ancestors and the changing form of the puma.

Sixth film from the Argentine director Daniel Burman, author of Esperando al Mesías (2000), El abrazo partido (2004) and Derecho de familia (2006). El nido vacío explores the emptiness experienced when children grow up and leave home, suddenly revealing the marital cracks (hidden for years beneath the everyday noise and chaos of family life). In El nido vacío, it’s Leonardo, a successful if somewhat weary author, who finds himself in this situation. Uncomfortable in the social situations demanded by his life as a member of the middle classes in Buenos Aires, Leonardo behaves like a man on the verge of a middle-age crisis, indulgent towards his neurosis and phobic towards the changes occurring around him.

The young Jewish woman Sulamit Löwenstein grows up with her parents in Argentina in the 1950s and falls in love with her German neighbor Friedrich, whose father was a Nazi henchman. In the 1950s, Argentina is the most popular refuge for old Nazis fleeing responsibility for their horrific crimes. There the young Jew Sulamit Löwenstein grows up, whose parents don't like their daughter spending time with her German neighbour Friedrich Burg. After all, it is rumored that his strict father was a submerged Nazi. Sulamit and Friedrich fall in love and move to Germany to study. In the meantime Friedrich is able to find out the tragic truth about his father and breaks with him. In order to move as far as possible away from his father's guilt, Friedrich fiercely opposes any form of fascism and supports the German student movement. A short time later he returns to Argentina to fight against the military dictatorship there. It is not until much later and after many aberrations that Sulamit and Friedrich finally found themselves in faraway Patagonia.

In the middle of the Atlantic Ocean, Farrel asks the captain of the freighter he works on for permission to go ashore once they reach the port of Ushuaia, the southernmost town of Argentina. Farrel wants to return to his birthplace and see if his mother is still alive. For the past twenty years he has worked as a seaman. He drinks to oblivion, pays the women he sleeps with, has no friends. Having reached the cluster of snow-covered houses where he grew up, Farrel discovers his mother is indeed still living but someone else has become part of the family.

Robert is an insurance employee and has been unhappily married for many years. He dreams of becoming a writer. One day he saves the mysterious Laura from suicide. At first this proves to be a real stroke of luck for him: not only does she provide him with stories from her life, which he can put on paper, she also has everything he needs for his happiness. Robert falls head over heels in love with the beautiful woman, unaware of what this will bring him.

A woman visits her home on an island in the Tigre Delta in an attempt to reconnect with her son, but finds that returning and reconciliation are never easy, in this atmospheric family drama from Silvina Schnicer and Ulises Porra Guardiola.

Cinema is the art of remembrance and Eliseo Subiela is one of the most gifted artists of remembrance in cinema. In this film, which particularly reconnects with his first films, Subiela makes us float between realities, between the inside and the outside, between here and beyond, between love and abandonment. Subiela describes it as a "metaphysical thriller", the story of this man in the company of a woman who both are prisoners in a dreamlike space; they are trapped in an apparent dream taking place in the labyrinthine corridors and strange rooms of a seaside 1930s hotel. The man knows nothing about his past or how he ended up in the hotel, but is accused by two men of having committed a crime at some previous point in his life. Every time he falls asleep, the man is tortured by a recurring nightmare of living in an impoverished apartment with a woman and a baby. Gradually, the man and woman fall in love as they try to figure out what has led to their imprisonment, and together they resort to extreme measures to break out of the dream. Eliseo Subiela invites us on a wonderful journey into philosophical spheres.

Man Facing Southeast is a drama-science fiction film fro Argenina, written and directed by Eliseo Subiela. It was selected as the Argentine entry for the Best Foreign Language Film at the 60th Academy Awards.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world's most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina's road to ruin.

Gabriel keeps his head above water with odd jobs. When his son Eric moves in with him, the money runs out. So they follow the well-meant invitation of the wealthy Maria to spend the holidays with her family. An encounter full of challenges.

Matias and his mother Laura, find themselves forced to hurriedly abandon the house they live in to escape another outburst of violence from Fabian. Matias is 8 and Laura is newly pregnant. Thus they begin a wandering journey in search of a place they can feel safe and protected. They embark on an unusual road-movie of everyday life, a drama shot through with great humanity.

Marcela’s world becomes strange and unfamiliar after her sister Rina dies. She feels lost in her own house, and her relationship with her husband and children seems to suffer. But when Nacho, a young friend of her daughter’s, unexpectedly drops by, she starts to talk and walk with him. Gradually Marcela begins to have conversations with relatives from another dimension.

This film is about the degraded socio-economic condition of Argentina leading to the December 2001 rebellions, and its consequent social chaos analyzed by focusing on real people from Buenos Aires poorest shantytowns, crumbling hospitals, and women middle class farmers fighting multi national banks that are shamelessly appropriating their farmlands.

Notes and Testimonies on Neocolonialism, Violence and Liberation" is one of the symbols of cultural and political resistence in the 60-70s generation. The film is a reflection essay on the socio-political situation of Argentina between 1945 and 1968. It was filmed clandestinely in Cold War times in a Latin America rules by pro-American oligarchies and military dictatorships. The work is a four-hours-long trilogy divided in chapters and united by the themes of dependence and liberation. The first part, Neocolonialism and Violence, was conceived to be broadcasted in all kinds of circuits. The second and third parts, "Act for Liberation" and "Violence and Liberation", make up the first historical chronicle of Peronismo and the workers’ resistentes that followed. His proposal is an open cinema to promote debate and incorporate new sequences of future fights. The Hour of the Furnaces is one of the most awarded films in Argentine cinema: It was forbidden by all dictatorships, gave rise to a parallel circuit of political cinema and it was disseminated in over 70 countries.