Punto de Fuga Cine

A storm is forming over the Nueva Córdoba neighborhood, while the statements of a former Canadian defense minister invite us on a journey into the unknown.

César has been a watchman in a chemical factory for more than twenty years. One afternoon he receives a letter from his sister telling him that she has sold the family land in the mountains. César decides to abandon his job and undertakes a trip to that area, with the aim of recovering the urn with Elena's ashes buried there. Walking he faces the mourning veiled for years. The territory of his childhood is no longer the same, the forest fires, the advance of private property have changed everything. But the encounters along the way open him to a world that he had refused to face after living trapped in his job.

Pelu is a thirty-something who barely survives on his salary as a projectionist at a municipal film club. After losing his job, he agrees to stay on as a night watchman and ends up living secretly inside the cinema, accompanied by the films he reviews every night.

Luca, a reserved real-estate employee, is faced with the bureaucracy that prevents a construction from moving forward, which drives him to turn to a representative who will turn him into his front man. Blinded by ambition, he doesn’t notice that this will lead to a limitless fall.

On 3 November 1995, the Rio Tercero Military Factory exploded in Cordoba, prompting thousands of projectiles to fire and spread in the surrounding villages, in a tragedy that would leave seven dead and hundreds injured and affected. At the time, Natalia Garayalde was a twelve-year-old girl who lived with her family near the place, and he was still playing filming with the video camera her father had bought, when she recorded the immediate moments of the burst, while her family escaped the explosions, as well as the daily activities of the village in the days and weeks that follow. Twenty-five years later, that material captured from a girl's candid and surprised gaze it becomes a thoughtful and painful testimony about the family, the destruction of a city, the traces of horror, the sinister truth about the case.

A poor boy decides to stop being a poor boy and, together with his friend, tries to run away taking a bag full of money from his boss. The last night in his hometown is a review by way of farewell to the two friends for the places, the emotion and the songs that marked their lives.

Three transport workers are unjustly fired and decide to complain: for a year they live in a tent that they set up on the esplanade of the municipal building. Faced with media pressure, the absence of the state and social mandates, the film shows how the deconstruction of that statement that points out as obvious the belonging of women to the private sphere of the home.

A man knocks on my door. I ask him what he needs. He doesn't answer. He looks at me for a few moments, with enormous eyes. He looks at me as one looks at an apparition. Rivers are born in that silence, in those hallucinated eyes, and they unfold a memory of water, a fragmented knowledge of tornadoes and banks, of creaking trees, of birds bathing in the rain, of men lost on some island, of drowning in the backwaters, of the splash of oars, of the shadow where the river narrows. A man knocks on my door. He says to me: You're not here, we're not here.

At the end of 2019, dozens of cans with films made by film students in the 60s and 70s were found at the University of Córdoba. Until then, it was believed that they had been destroyed during the last military dictatorship. Fifty years later, those images are projected again, taking us to an almost unknown period of Córdoba cinema and a time of unprecedented political, social and cultural effervescence. Each frame exceeds its original intention, to tell us about a group of young people passionate about cinema and the interests that mobilized them: psychology, militancy, music, sexual freedom. But the appearance of a strange character linked to the fate of the cans reminds us of the abrupt and violent end of the dreams of that generation.

In 2017, 100 years after the Bolshevik Revolution, no official event was held in Russia. The central government decided to confine the memory of the Revolution to museums. In this climate of forgetfulness, some scenes detached from reality bring the past to the present. Two young roofers, Nikita and Karl, explore the city, search for historical remains and specific places, climb the roofs. In their wandering they find abandoned buildings and balconies. Katya, an apparently older woman, walks through one of the capital spaces of the revolutionary process: the Champ de Mars, in St. Petersburg. Katya tells about the February Revolution, which ended the Romanov dynasty. It recalls the post-revolutionary period and rescues the figure of one of the most interesting intellectuals and scientists of the time: Aleksandr Bogdanov, author of a utopian science fiction book called Red Star.

Isabel is rejected by the forest brigade to which she belongs for attacking a real estate development responsible for forest fires. When she decides to continue on her own, she faces loneliness and frustration, in an encounter that will question the meaning of her struggle.