Mostra Cine

Andrea visits her incarcerated son for the first time. Initially eyed with suspicion by other women in line, she gradually gains their trust — and emerges as a powerful advocate for justice reform.

Pablo, professor at the University of Buenos Aires, has an affair with Luciana, one of his students. Natalia, another professor at the University of Buenos Aires starts an affair with her student Gonzalo. Two stories, as two sides of the same coin.

One hot summer at the beginning of the new millennium and on the eve of the great economic crisis of the year 2001, a group of adolescent girls falls madly in love with a boy called Diego. The romance is interrupted when Diego starts hanging out with Silvia, a 30-year-old woman he met in a chat room. Then Natalia, one of the teenagers, decides to turn to the knowledge of her grandmother Rita, and thus ward off the disappointment by using an ancient dark power.

Julia, wife of a wealthy lord living near the Iguazu Falls, has nightmares for several days. The lord builds a fence to ward off the indigenous people, the Guarani tribe, but Julia is still anxious about her son Manuel’s safety. One day Manuel suddenly disappears, and when searching for him, Julia runs into her maid, Kerana, who was believed to have died one year before, under the falls.

After spending 8 years in prison, former police officer Román Maidana returns to his childhood town and hallucinates a woman who seems to be encouraging him to disarm a network of prostitution and trafficking in women.

After the death of her grandfather, Antonio Bonino, Toia found six negatives proving that he was a member of the Fascist Party and an aide to Benito Mussolini. Influenced by this discovery, the director sets out to trace her male family lineage, whom the end of World War II brought to Argentina. Instead of a clarification, however, the past crumbles and disintegrates into a mosaic of archival material, family films, excerpts from personal diaries and fragments of the works of Roberto Rossellini or Luchino Visconti. But it is the meanings that emerge from the combination of disparate images that offer answers and fill the information vacuum that has shaped generations of the family. The dynamics of the Bonino family's male-female relationships have a much darker basis than the social context of the time. In the story of grandfather, father, cousins and sons, Toia also finds a story of identity and of the role of wives, mothers, grandmothers and daughters in a history shaped by men.

Through archive footage and images as well as interviews, the movie paints the portrait of a legendary trans womens' rights activist in Argentina. Like a family album to flip through, the narrative charts the ties solidarity and mutual aid create between people of the LGBTQI+ community and the long road to make the personal political, during the brutal 1980s in latin America.

In her desire and ambition to become a powerful glam rock star, Elda comes into conflict with her shy alter ego Diego, with whom she shares the same body. A pilgrimage to the altar of a trans woman, who was murdered and buried in the middle of a forest, awakens in Elda new ways of loving, growing and bonding, in connection with nature and beyond the limitations of binaries.

In the Argentinian prison where he's serving a sentence, Marcos cherishes his smartphone, which he uses to keep in touch with family and loved ones. It's also the device with which, at the request of filmmaker Toia Bonino, he documents his daily life. His video recordings and back-and-forth voice messages with Bonino form a precious link to the outside world.