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En Terapia is a 2012 Argentine remake of In Treatment. The main actors of the 2012 season are Diego Peretti, Julieta Cardinali, Germán Palacios, Ailín Salas, Dolores Fonzi, Leonardo Sbaraglia and Norma Aleandro. The second season added Carla Peterson, Gonzalo Slipak, Roberto Carnaghi and Luisana Lopilato.
After Eva Perón’s death in 1952, her corpse is held for three years awaiting the construction of a mausoleum — a resting place that would never be built. In 1955, the military seized control of Argentina and hid Perón’s body from the public, fearing that it would unite the country against them. But they never imagined that in doing so she would become more dangerous in death than she was in life.
This drama is based on a novel and incomplete screenplay by the late Maria Luis Bemberg. In 1930s Argentina, wealthy Sebastian (Antonio Birabent) leaves his Buenos Aires home for the family estate on the pampas. His family, concerned for his physical and mental health, arranges for Sebastian's childhood friend Juan (Walter Quiroz) to check on Sebastian's situation. Juan finds the highly erratic Sebastian caught in a doomed relationship with the Danish daughter of religious sect members. Unfortunately, Juan also becomes obsessed with the young woman, and Sebastian's suspicions increase.
In each episode, which takes place independently of each other, commissioners Jiménez (Luis Luque) and Laurenzi (Darío Grandinetti) must solve different police cases that will be presented to them and will be a challenge for them, for which they will receive the help of the editor literary Daniel Hernández (Nicolás Cabré) who is looking to write a book about crimes.
This special will lift the curtain to showcase the work of both onscreen and offscreen talent behind the Star+ original series, “Santa Evita.” Exclusive interviews and footage will transport viewers backstage as they learn how the directors, writers, actors and actresses, and the production team brought Tomás Eloy Martínez’s novel to the small screen.
Enrique Hubermann, homeopathic physician, travels in flight from a love. By a joke of fate, in that distant place he meets the woman he wants to forget, a beautiful young woman like a demon who manipulates men and triggers dangerous passions.
Years passed, and China Zorrilla's artistic children never met again. Her death closed an era. What remains in our memory is the jazz of her inventions and the legacy of an artist who forged new paths, amidst both delusions and prohibitions.
María Luisa Bemberg was born into the highest echelons of Argentina’s society. Her family founded Quilmes, the nation’s biggest brewery, which expanded into a multinational. Bemberg, home-schooled by the best teachers and tutors, grew up in a social bubble. And she never made a secret of this, in as far as many of her films are set in the upper classes of different eras and narrate the politics of their respective periods through the prism of female opportunity, or the lack thereof – what could a woman do, behaviour in extramarital affairs included? Class, more often than not, was a trap, even if it might offer opportunities that many are denied. With María Luisa Bemberg: El eco de mi voz, Alejandro Maci paints a detailed and multifaceted picture of Argentina’s greatest female filmmaker, in which family and colleagues get their say as much as Bemberg herself, thanks to myriads of private and public recordings.
Bea Smith is locked up while awaiting trial for the attempted murder of her husband and must learn how life works in prison. A modern adaptation and sequel of the iconic Prisoner series.
Once a powerful lawyer, Billy McBride is now burned out and washed up, spending more time in a bar than a courtroom. When he reluctantly agrees to pursue a wrongful death lawsuit against the biggest client of Cooperman & McBride, the massive law firm he helped create, Billy and his ragtag team uncover a vast and deadly conspiracy, pitting them all in a life or death trial against the ultimate Goliath.