Entrecruzar

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.

“Rosa, why do we look at the sky so much?” Irineo asks his wife. The clay-rich mountains of the Chuquiago Valley, on the slopes of the city of La Paz, Bolivia, are transformed into bricks every day. Grinding, mixing, pressing, drying, and firing are some of the tasks Rosa and Irineo carry out as part of their daily routine making gambote, a particular type of brick. As they work, we share in the intimacy of their everyday lives. A portrait of an ancient craft and of the importance of looking at the sky.

Olga is Patricia's mother and Alejandro's grandmother. Her grandson invites her to fulfill a dream that she has postponed all her life: to be a radio announcer. However, the background of this attempt is that the relationship between Olga and Patricia improves on a day-to-day basis.

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.

A Concrete Cinema draws close to the intangible spell that is implied by the need to somehow belong to film, to give something back to it, even if we feel it is impossible. The film tells the story of Omar, a construction worker from Villa Elisa, a small town in the province of Entre Ríos, Argentina, who rejects the idea that big screens may disappear. He will do anything he can to preserve that which he has held on to since he was a child, even though he has to build it with the remnants of what was.

The stories, music and rituals of Tinku culture in the north of Potosí in Bolivia, are the perfect excuse for director Nina Wara Carrasco to return to the idyllic place of her childhood, where she faces the uneasiness of the passage of time and uprooting. In the Whisper of the Wind explores rituals where music is a balm and a link with the mystic.

Ale was a thief and the police shot him in a raid after he was betrayed. A puzzle of visual and testimonial elements takes us deep into this unsolved story. Based on a particular event, 
Orione faces us with situations we would rather not see.


It's a journey to discover the story of the Mirabal Sisters and the origins of the International Day for the Elimination of Violence against Women. Using as its narrative thread the tour of a group of Argentine actresses telling the Sisters' story in the Dominican Republic, the documentary uncovers and recounts the lives of the Mirabal sisters, known as "Las Mariposas" (The Butterflies).

A young argentine director travels to Spain for the first time and re-discovers his grandfather's past as a Franco soldier and Civil Guard. This fact will affect his own present.

Hundreds of boxes left by the famous uruguayan musician and political activist Alfredo Zitarrosa (1936-1989) who run away the dictatorship in the 70s, have not been touched since his death 27 years ago. Now his wife and daughters are trying to save the memories, tapes, music and sound recordings that the boxes contain to the posterity.

Luis Alberto Quijano declared himself a witness in the “megacase” of La Perla for one of the worst crimes against humanity in the province of Cordoba during the last military dictatorship in Argentina. El hijo del cazador follows Quijano’s life story.

Called by a mysterious family anecdote, Azeneth sets out on a journey in search of her own identity, in which she faces the ghosts that haunt the memory of three generations.

Matías (23) must go to convince some Mapuche communities to recover territories that the Chilean state has stolen from them. During the trip they warn him that the police are following him. Before recovering the territory, Matías learns that one of his friends is giving information to the police.

Can a concentration camp be represented? Can a film be built on the remains of horror? A conceptual and emotional essay that breaks with hegemonic discourse. A new perspective on what has already been seen. 180-degree panoramas and extra-diegetic sounds permeate the remains of La Perla. A sensorial journey through space.