Keyword Argentinean Cinema

The night shift clerk at a sex hotel, suffering from narcolepsy, is faced with a night when things are unusually busy and housekeeping finds a gun in room 6.

Pata Marsilla was at the former nightclub when the tragedy of Cromañón (2004) happened in Argentina. Although he was only seventeen years old, he remembers every step he took that night. His words come alive through a recreation of how a concert turns into horror.

While on the run from zombies, a couple begin to have some relationship issues.

Sebastian, a man in his thirties, works a series of temporary jobs and he embraces love at every opportunity. He transforms, through a series of short encounters, as the world flirts with possible apocalypse.

Tucumán, Argentina, 1965. Three years before George A. Romero's Night of the Living Dead was released, director Ofelio Linares Montt shot Zombies in the Sugar Cane Field, which turned out to be both a horror film and a political statement. It was a success in the US, but could not be shown in Argentina due to Juan Carlos Onganía's dictatorship, and was eventually lost. Writer and researcher Luciano Saracino embarks on the search for the origins of this cursed work.

Remembering his old memories, he will leave a photograph in every place where he was happy.

A wandering suit man finds love, but that’s not his true desire. Through a seductive encounter, he begins to reveal his own identity and delusions surrounding him.

At a tabern in the argentine interior, xenophobia among gauchos is in charge of blurring the line between the law and the trap.

For many, the name Malvinas/Falklands evokes an absurd war between England and Argentina in 1982. For Julieta Vitullo, the protagonist of this film, this tragic history becomes deeply personal 25 years later when she suffers a loss associated with her search to uncover that past, unfolding into a life-affirming struggle for renewal and rebirth. This film tells the story of two trips, one made in 2006 and the other in 2010. In the space between one trip and the next, between past and present, between the public and the private, between what can and cannot be told, the movie reflects on the possibilities of conveying extreme life experiences, presenting landscapes and sounds that suggest subtle contours of that shape, 'The Exact Shape of the Islands.'

Based on a discursive analysis of historical right-wing forces in Argentina and around the world, the objective is to situate the current Argentine government in the context of a resurgence of reactionary thinking, as well as to warn of the country's potential direction.

Deep in the forest a group of five friends wander around like a lion herd. Lost in their word games, they play and seduce each other while going back and forth into adulthood territory, in a desperate search to avoid their already written story.

The Huge are dwarf superheroes who inhabit Huge City, within another dimension. The problem arises when Max (who once was also a Huge) uses the technology of his former companions to enter the world of humans and, under the nickname of The Lord of Evil, become the leader of a criminal gang that kidnaps the Hour Officer (Magalí Moro) to ask for 10,000 kilos of gold as a ransom.

A peculiar, meticulous, vocationally archeological account of the professional life of the actor, Spanish by birth, Argentinean by adoption, Narciso Ibañez Menta (1912-2004), spiritual disciple of Lon Chaney, the new man of a thousand faces, master of horror, star of Argentinean theater, cinema and television for decades.

Submerged under the blows and fury of the boxing ring, Daniela "La Bonita" Bermúdez, a young and introverted girl, aspires to be someone in life. Raised in a humble family of boxers, Daniela represents her only outlet for her family and she personifies the frustrated dream of her father, manager and coach.

While he wanders around his house preparing to sentence the fate of an 18-year-old young man, an old judge must deal with the relentless questioning of his distant wife.

For many years, Buenos Aires, Argentina, was one of the best places in the world for a film buff; but from the mid-sixties onwards, successive authoritarian governments shaped the will of the spectators, dictating what could be seen and what could not, so that the true cinema lovers, in their desire to watch films, had no choice but to embark on the most extraordinary and strange adventures.

Andrés waits at the wrong bus stop, there he meets Lucía who offers to help him search for the correct stop. Together, they take a journey not only through the beautiful and melancholic city of Córdoba at night, but also through their thoughts and ideas about the city, people, music, and life.