Fondo Nacional de las Artes

The portrait of a man and his attempts to make things up with life after losing his job.

A journey through the conflicting relationship between a man, his social environment and codes.

Images of Argentinian companies and factories in the first light of day, seen from the inside of a car, while the director reads out documents in voiceover that reveals the collusion of the same concerns in the military dictatorship’s terror.

In 1936, in Cayastá, Aparicio Garay, a strange inhabitant of the islands, brutally murders an 11-year-old boy, and commits an act of cannibalism following the orders of his God, “El Hora”.

Federico Manuel Peralta Ramos was an artist responsible for the creation of a work that it was as ephemeral as it is eternal. He was born in a traditional family, but some years later the curiosity for the art scene, night life and avant-garde development pushed him to live within the iconoclastic and unbiased young 60's crowd.

Federico, in his mid-20s, lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend. He fears hurting her. However, she is laid-back, feisty and not even close to feeling hurt. He begins obsessing over her unexpected reaction—but then he meets someone else.

In Córdoba, far from the Argentine capital, the end of a military regime promises a spring that is all too brief. “La Delpi” is the only survivor of a group of friends who are transgender women and drag-queens, who began to die of aids in the late 80s. In a Catholic and conservative city, the Grupo Kalas made their weapons and trenches out of improvised dresses and lip-syncing. Today the images of unique and unknown footage are not only a farewell letter, but a manifesto to friendship.

A sunny morning in Buenos Aires. All seems quiet, but then an odd race begins: a variety of people are after a backpack. A little army of seekers surprises us at every corner. Suddenly, a lonely bureaucrat (Mapache) is involved in this adventure, and new, mysterious and unknown people start to populate his life, all running around the popular Argentinian city to obtain the backpack which seems to be crucial to his own fate, according to the words of his new accomplice, magician and tarot reader Luminitsia.

Theatre of War is an essay on how to represent war, performed by former enemies. British and Argentinian veterans of the Falklands war come together to discuss, rehearse and re-enact their memories 35 years after the conflict.

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 suffocating summer afternoon. 11-year-old Iñaki lies down between the half-naked bodies of his brothers and his father. The guilt of exploring his sexuality confronts him with his worst fears and he resorts to his imagination to get through the situation.

'Guacho' narrates a summer day in the life of two teenage friends, Maikol and Darío, who want to escape their everyday crushing reality, at least for a day. They spend up to the last penny to get to the mountains where, taking refuge in tranquility and mutual love, they manage to get a grasp of happiness. But freedom does not seem to be so available to them.

In the mid-1950s, Sara Facio burst into the world of photography. A tireless precursor, a photographer with a unique gaze, an audacious photojournalist, with the camera on her back, “was there” whenever she wanted.

In the future, the planet is devastated by pollution. Five-year-old Anahí accompanies her mother to exchange scrap metal for some drinking water. On the way home, an evil figure takes possession of the precious liquid, triggering a tragic end for this mother and daughter.

Short film that reenacts a letter from artist Fernando Fader.

Sixty years after the creation of the Cinematography Institute of the National University of the Litoral, in the midst of the Fusiladora Revolution, former teachers and graduates bring to the present the conflicts generated by their audiovisuals critical of capitalism. Despite the definitive closure in 1975, for these former teachers and graduates, the fight continues from the new film schools that opened in Argentina and Latin America.

María Estela Martínez, better known as Isabel Perón, achieved what Evita Perón never could: From an unknown cabaret dancer she became the first female president of the Americas. But after surviving prison and exile under South America’s most brutal military dictatorship, Isabel was forgotten in popular memory. “Una casa sin cortinas” (A House Without Curtains) uncovers why Isabel still haunts Argentina today.

There is a house being emptied. There is an auction in the neighborhood of Flores. Clients fill the place, eager to buy all kinds of objects. There is almost no filter when fighting to get the best price that belongs to the dead, the exiles, the fugitives and the soulless. A reseller who is too preoccupied with the staging, a collector with a past as a fishing worker, and the owner of an antique shop that admits to selling the affections of people, hints at the state of things.

Las Indomables await with anxiety the start of a neighborhood women's soccer tournament. During the wait all kinds of events happen, love, conflicts, politics and even a rain, stalk the passion for which they are there: Play football at all costs