Las Ganas que te Deseo / Léxico

An old man drivesdriven around town trying to find a wick for his old heater during the long months of the Argentinean winter.

An hypnotic musical with ghosts, young skaters, a "cumbiópera" in three acts and an epilogue. A ballet of visages, gazes, desire, love, drama, tragedy and shooting.

Peluca is dating Marisita, a girl who has dropped out of school and spends her days watching television and arguing with her mother, who is exasperated to see her with no prospects for the future. The drama of a life without protection is heightened when Marisita becomes pregnant. Peluca sells her prized car, "El Blanquito," and events begin to unfold in unpredictable ways.

I decided a long time ago not to make synopsis of my films anymore. I want people to arrive without knowing what they are going to see. There won't be a trailer either – they're misleading and never really reflect the spirit of the movie. Thanks for understanding.

Graciadió will premiere in Ituzaingó and the show will reunite Violeta Naón and Gustavo Prone, its protagonists, who have not met again in the last eight years. Perrone takes the opportunity to make another film, Eight years later, the story of those two actors and their reunion. To preserve the truth of this new encounter between Violeta and Gustavo, Perrone filmed the entire film with unique shots, without repeating any. One of them a long flat-sequence of 25 minutes.

Fixed open shots are the main resources used to follow a love relationship and the many moments when this liaison between two women – 22 and 24 years old – is recomposed.

Heber tender love between a Chinese boy who lives in Buenos Aires, and Jaqueline, a girl from the suburbs. She cares for him, protects and serves as a translator, although he already has three years in Argentina and speaks fairly good Spanish. On that happiness a shadow looms: Heber wants to emigrate, to find his sister in Canada. Love story in two stages: one contemplative, with lovers lost in their youthful love; other harder, threatened by the specter of separation.

In this film, which takes place for the most part inside a house that seems to be isolated from any contemporaneity, except for the news coming from television and the ringing of cell phones, Perrone shows the routines of his characters as rites of stagnation: the novel at full volume, the haircuts, the text messages. In the house of Los actos cotidianes there is a certain refuge in the family in front of a world that is guessed hostile, too wide and foreign.

A teenager's trip to spend the spring day, the problems a man has with his wife and her lover, evangelists preaching the word of God.

Luján was a construction worker. He had fourteen children, some of whom he no longer remembers the name of. It is separate. A neighbor, Liliana, gives him a house and food, in exchange for work. One of his children claims him, but he does not want to return, because he is no longer even half of what he was.