Maleza Cine

In the begining of 20th century, after the "thousand days war", the country was devastated. Gunmen to the service of land lords attack small land owners to get their lands. Aquileo is the only one who survives, and promises to take revenge on the killers.

Fragments of a Saturday winter day. The Vittenzein brothers are alone at their family house. Mateo stops by to pick up Bruno and Camilo and drive them to the country house where their mother awaits. A sudden break slam brings them into the intimacy of a waste land.

While looking after a friend’s house, Vladimir (a young Colombian) wakes up one morning to find a gigantic stone sitting on the terrace, next to the pool. He has no idea where it came from. Disturbed and intrigued, he calls Cecilia (his ex-partner), who is pregnant with her new partner’s child, to help him figure out what to do. A part is an independent element that can be considered or included within a whole. It can also be a person or group that stands in opposition to another in a discussion or in a war. It might be a brief exchange, or perhaps just any place. This is a story that begins early in the morning. A rock appeared on the terrace. A giant rock. Miguel calls his ex-girlfriend and asks for help. But this is only a part.

In the Colombian-Venezuelan Andes, a peasant works the land under exploitative conditions to ensure the survival of his family. His son is ill, his wife is pregnant, and he himself reproduces the violence that surrounds him. With no money for medical treatment, one night he gets drunk and is arrested. In jail, in a burst of fury, he rebels against the town's political boss in the only way he can. La Paga was a pioneering work of social and political cinema in Latin America, released the same year as Barravento, Glauber Rocha’s debut feature, and anticipating movements such as Third Cinema. Influenced by Italian Neorealism and Soviet cinema in its aesthetics, forms, and ideological approach, the film uses the archetypal representation of characters and the social and economic forces they embody. Based on the director’s childhood observations in his hometown, La Paga denounces the exploitation of the rural peasantry.

Ten-year-old Axel lives with his mother and three sisters in a flat in Buenos Aires. They’d be a perfectly normal family if only the mother weren't imprisoned in one of the rooms.

As the day begins, a woman sets out to go about her routine, until she decides to take her children to the cemetery to see zombies. When she returns home, this interruption in her day will leave her with a strange and magical feeling.

A woman who will die soon tells her three children that she wants to do so with as little intervention as possible. They don't know how much of that desire they will be able to fulfill. Accompanying her in her decision makes them confront the way in which our civilization conceives death. Taking charge of preparing this farewell while their mother is still alive will be a mysterious and revealing way to be together.

The pandemic, images from the past, images in the trash, various animals, a wounded lion boy, musical neighbors singing an old bolero, a medicinal herb vendor making cooking videos. An experimental piece in collaboration with I Acevedo, Paula Trama, and Inés Copertino, commissioned by the Buenos Aires Queer Art Festival.

In 2017, young Mapuche Rafael Nahuel was killed by police in the Patagonian forest. Site visits, court proceedings – the film unites the elements involved in solving the crime. Meticulously observed: the struggle for civil rights and narrating history.