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David Alfaro Siqueiros, recognized Mexican muralist, travels to Argentina in the thirties with the purpose of giving a few conferences and paint a mural of revolutionary subject matter, which faces local political rejection. The press mogul head of the newspaper Critica, Natalio Botana, personal friend to the President of the Nation Agustín P. Justo, propose Siqueiros to collaborate in the cultural supplement of the diary and paint a mural in the basement of his Villa Los Granados. Siqueiros accepts and does that his wife the poet Blanca Luz Brum meets him, his arrival to Los Granados and his romance with Botana provokes the jealousies of his powerful anarchist wife Salvadora Medina Onrubia and Siqueiros himself, which turns the Villa almost in one of the scenes of the Ejercicio Plástico, how Siqueiros named his work.
As in a diary or a notebook, images and sounds display -in an intimate and reflective way- the emotional state during (self) exile. A film that blends languages of video art with essayistic documentary; classic B&W Argentine features and found footage with personal archival material; texts from quotes to notes on a diary. We travel to question our identity and the notion of homeland. In doing so, the body is thought of as the territory of one´s own nation. However, places change but the question remains the same: will this be my place?
Manuel is a lonely young man of upper middle class who lives in Buenos Aires with his mother. Due to a fortuitous circumstance, one day he discovers that his father, whom he does not know and whom he supposes living abroad, is in the country. He decides to go and look for him and on his motorcycle starts a long way south through Patagonia.
Time advances and leaves traces, in the bodies, in memory, in the cinema. A child grows up in an uncertain world, while his father, camera in hand, tries to capture that moment and build a bridge to the future. Between fragments of life, reflections and farewells, the question arises: how to raise a child in a time marked by collapse? Far from the noise of the city, looking for another way to inhabit the world, the director receives a visit from his father, a man who once lived in cinema and now carries the fragility of the years. Between grandfather and grandson, the director discovers himself in transit: still a son, now a father. The skin is a portrait of love as a refuge, of memory as an anchor and of cinema as a witness.
Pedro, a Falklands veteran, cannot forget the days when he was in the trenches, nor can he forget Raúl, his best friend, who stayed forever in that desolate place of nightmares.
Using Super 8 footage, the director revisits a childhood trip to Asia, where his father’s business partner documented his family. Haunted by memories of a night in a Bangkok hotel, he grapples with fragmented memories, trauma, and the power of forgetting.
A foreigner arrives to Floresta and stays in a shared house.
Frustrated with the direction of the church, Cardinal Bergoglio requests permission to retire in 2012 from Pope Benedict. Instead, facing scandal and self-doubt, the introspective Pope Benedict summons his harshest critic and future successor to Rome to reveal a secret that would shake the foundations of the Catholic Church.