Subterránea Films

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Panash is a fictional film set in a dystopian near future. Buenos Aires is in flames, convulsed by a state of siege that seems to have no end. But in the margins of the city, there is room for a love story.

Devised as a critique of Argentina's national crisis in 2002. A young cyclist is run over and badly injured by a couple of gangsters. Neither the private nor the state-run emergency services manage to save her.

Gonzalo, a young man in modern-day Argentina, leaves adolescence behind and heads toward adulthood. His quest to find himself will mean facing difficulties, his fears, his frustrations, and also leaving the safe world of home.

Two young urchins turn the streets of Buenos Aires into their own magical playground, in this vibrant portrait of young love.

It narrates Fede's trip from the time he leaves Tierra del Fuego until he arrives in the city of Buenos Aires, and also his meeting with Natalia in the middle of the route.

"Diablo Viejo" was going to be a family road trip movie, but the production stops when the co-directors' 9 year relationship comes to an end. After the separation both put together their own version of the story with the pieces of a broken relationship and a frustrated documentary.

A famous sommelier loses his palate in the middle of a wine festival.

An Argentine theater company sets off on a tour of various towns in France, performing Anton Chekhov's The Seagull, directed by Daniel Veronese. The actor who plays Treplev—the writer in love with Nina—and Perroud, a young film director, record this trip. What begins as a travelogue transforms into a duel of viewpoints: that of Perroud's camera versus that of "the Actor who plays Treplev."

Graziele was born on a small island located in the south of Rio de Janeiro. As her mother died when she was just one year old and her father was always an absent figure, she was raised by her older sister and her grandparents, next to an evangelical church where her grandfather has been a pastor for two decades. In that small-town, conservative environment, Graziele had to come to terms with her homosexuality, first to herself and then to others. She decided to migrate to Argentina, even though she left a love in Brazil, and started living in Buenos Aires, together with her older sister on her father's side, and her brother-in-law Diego, who will be the narrator of her new life with his camera.

The failed story of a love triangle in a post-apocalyptic world.

Julio starts a new job at a small bookstore. Little prudent, he handles with both things as if he knew them from always. This will complicate his great project: to make an apocalyptic photo-roman.

As part of the Bicentennial celebrations, the initiative and perseverance of Diego and Muriel, two young idealists, manage to transform into an unprecedented project: the creation of a choir of 1,800 school children of all faiths (Christian, Jewish, Muslim, evangelists, secularists), different communities (Armenian, Turkish, Galician, Basque) and all social classes.

Ludmila Vieytes is in a cockfight in Cuba. With her baby in her arms and in a wheelchair, she comes to a passive acceptance of the torture, of the human and divine violence that shapes her beliefs.