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The third and last part of the trilogy where we see Moacir as a film director: the film and the scenes that Moacir conceives and shoots - scenes entertained, tragic, dramatic and romantic - with its particular cinematic and aesthetic style. On the other hand, we see the behind the scenes of the construction of this film: a documentary that shows Moacir conducting his fictions, in everyday familiar situations.
Martín, a TV host of 42, has the urgent need of becoming a father. Leonardo, an agronomist of 45 and Martín’s partner for the past ten years, has doubts since he himself was adopted by his parents.
A medieval heresy and the first Protestant church in history, the Waldenses are both an 850-year-old peasant community and a current that in recent decades has challenged the Vatican on issues such as gay marriage, euthanasia and abortion.
Diverse stories of characters who live locked up in institutions of seclusion. Old, crazy, sick and prisoners looking for ways out of the asphyxia that surrounds them.
Based on the epic, written on twelve 5000 year old clay tablets, this is the first film adaptation of Gilgamesh.
Three women turn the camera into a tool for expression and play: from the VHS recordings of the ‘80s to the rise of TikTok, the documentary explores how their videos transcend the everyday, reinventing worlds and sharing creativity.
A documentary that explores the uniqueness of its characters, Chinese migrants from several generations living in Argentina. Stories such as that of Gustavo Ng, a journalist active in the bilateral political conversation, or Federico Chang, who is training to become a professional soccer player.
Moacir has died, but he’s able to live in images and in Tomás Lipgot’s heart. The director cannot abandon his unforgettable character yet, and so he embarks on a farewell that is also some sort of personal journal made with all the warmth and care in the world.
Through deeply personal interviews with her siblings and an examination of the photographs, letters, and belongings left behind, Mariska assembles a new portrait of her mother Jayne Mansfield, an extraordinary and complex woman.