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We are in the mid-nineties. Much of the western football world has to learn a new word: Qatar. There, in the middle of a mythological desert, a handful of boys from different countries and origins are going to play a Youth World Cup.
Ignacio Ceroi is trying to track down a man whose daily life he has been following through videos recovered from an old camera. Who is this man? And would he be pleased to know that he has dedicated a film to him? Would he be able to forgive him for his voyeurism?
At the beginning, an objet trouvé: a video camera bought by the director at an online auction site during an extended visit to the south of France to see his girlfriend at the end of 2019. His voiceover explains that he found some footage still stored on the camera and wants to use it to make something for cinema. To do this, he has to obtain permission from the camera’s previous owner, an older man named Charles, who lives in Arles. As the rhyme already suggests, imagination could be at play here.
Edgar and David find a sculpture at an archeological excavation. Obsessed with the find, Edgar embarks on a journey and disappears without a trace. Years later, María, his daughter, decides to go and look for him in the jungle.
This gritty dramatization of the life of Carlos Tevez shows his rise to soccer stardom amid the harrowing conditions in Argentina's Fuerte Apache.
After refusing big and prestigious awards all over the world, Mr. Mantovani, Literature Nobel Prize winner, accepts an invitation to visit his hometown in Argentina, which has been the inspiration for all of his books. It turns out that accepting this invitation is the worst idea of his life. Expect the unexpected when you have used real people as characters in your novels!
A film buff, after being fired from his job, embraces his compensation in pursuit of making his debut feature: a short film for which he has neither the actresses, nor the script, nor the slightest idea of where to start.
Over several days and nights, an actor and an actress read the correspondence between Torcuato and Kamala, the film director's parents, he from Argentina, and she from India. The letters, encompassing the decades from the 50s to the 70s, refer to love and idealism, record world travels, talk about socialism and psychoanalysis, about pain and broken dreams. Their reading reveals a relationship between the actors, with similarities and differences. Meanwhile, with his own daughter, the director sets about solving the puzzle of the family memory, an intimate twentieth-century tale.
Seven years after their first infatuated encounter, Abril and Manuel meet again. Despite the fact that they are both married, it is soon apparent that their attraction has only grown.