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Julia works as a waitress on the night shift of the Comodoro Rivadavia casino. There, she meets Gwynfor, a customer who offers an interesting work opportunity in the oil industry. And so, what starts out as a morning appointment, résumé in hand, becomes a nightmarish journey in the middle of the arid landscape of Patagonia, a space Ulises Rosell uses with the cinematic power of a western, with the inclemency of the sun and the darkness of night ravaging the protagonists. Inspired by the stories of captive women from the 19th century,
With BONANZA (FID 2002), his first film, Ulisses Rosell took us on a journey to meet a tribe of extremely colorful Argentinian poachers. This new dive into exotica takes us to the Wichi Indians in Chaco, Argentina, who have not long been sedentary, with an American ethnologist as our guide. To some degree a repentant ethnologist, John Palmer, rather than finishing his thesis, married a native and had a large family. Rather than observing it from a distance, he chose to become part of this discreet and beleaguered community. He strives to support their cause, getting involved in law suits and confronting companies which pillage land that belongs to the Indians with complete impunity.
Two buddies' road trip is halted by car trouble in the middle of nowhere; they stumble on a derelict hotel and are inspired to try to restore it, with the help of an odd bunch of locals.
Chlorinda, neighbor to Asunción, in Paraguay, is small and full of shops, stalls and warehouses. The city converges towards the "La Fraternidad" Catwalk, forty meters of wooden bridge, which crosses a nonexistent stream-boundary.
A separated yet self-sufficient craftswoman puts up a friend who is also separating. The hostess has three teenage children, and the arrival of her guest will interfere with their domestic harmony, apart from slowly but surely causing a hormonal surge in one of the boys.
This film explores the perception of Lisandro, a 16-year-old boy who is on the autistic spectrum. His mother, Valentina, an actress, has raised him between backstages and dressing rooms. Is there any difference for him between reality and fiction?
A series of documentary portraits filmed throughout the pandemic. Police control, screens, masks, and protective suits were imposed on everyday life, revealing that environment of estrangement that fiction had so often foreshadowed.
An intimate portrait of Marcos López, unique and unclassifiable figure, film director, visual artist and one of the most prominent contemporary photographers in Latin America.
The film brings together the winners of the first edition of the Argentine National Film Board's (INCAA) annual public script competition, the grand prize of which is the budget to produce a short film. Eventually screened in national theaters, the omnibus film gave rise and recognition to a new generation of Argentine filmmakers known collectively as the New Argentine Cinema—a wave of contemporary filmmaking that began in the mid-1990s in reaction to decades of political and economic crises in the country.
A small team of con artists for hire use their skills to solve common people's life problems.