Rodrigo Moreno

A miserable Argentine troupe of actors, dancers, musicians, filmmakers and a girl embark on a theatre tour to some country, probably in Latin America.

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It is the first installment of a series of films titled Downtown Life, which is the result of the happy meeting of two friends who get together to film for the pleasure of walking and observing the city in which they live and where they grew up. What they see is the city that belongs to them, and turning that fact into a film is the way to share that belonging with others. Each observation, be it the movement of traffic at a street intersection, be it the force of the wind exerted on a branch, be it the rhythm of pedestrians at night, contains a form and a story and the confidence that they can be transmitted to whoever. be open to that contemplation.

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Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.

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Isolated in his apartment, old and forgotten by almost everyone —whom, in turn, he has also forgotten— Rafael occupies the hours of his daily life with various rituals and repetitions.

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An intimate, amiable and yet unforgettable symphony of the life of every country town in the world in several vignettes – even if this focuses on Colón, a couple of hours north of Buenos Aires. Both lyrical and modest.

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Two young Colombians, Luna y Juan, live in the suburbs of a Buenos Aires without Argentines. Their relationship oscillates between tender gestures and violent explosions. Everything between them gradually gets more intense: their games, fights, recklessness and even their monotony. But something changes when Federica shows up that sets into crisis the fragile nature of their relationship, unveiling the decadence they have gotten themselves into.

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Lucía has just been dumped by her boyfriend, the mysterious and elusive "Muchii." This opens the door for Lucía to keep a diary, which will lead her to find those responsible for all her previous romantic failures. Her plan is to discover a way out of the depression she finds herself in.

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This film is a political and poetic portrait of the daily life of a low class woman who plays the part of a cleaning lady. Ramona lives in the suburbs of Buenos Aires. Every day she travels four hours and a half to reach her job and to get back home. She divides her working time between two upper middle-class homes where she receives the name of Réimon, a sound that evokes the English language, a Buenos Aires upper class snobbish custom. It´s fiction and it´s not. It´s also a film about the labour conditions of a worker, about the time this worker uses for working and the efforts that implies working. It´s also about the absurdity of cleaning someone else´s house, the absurdity of modern life and the differences between social classes.

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Boris is stunned when his girlfriend Ana asks for some time apart. He doesn't know why and she can't explain it. Some time can mean so many things. How much time apart? A week, a month, years? During this imprecise period of uncertainty, Boris is left at the mercy of chance. His life transforms into an erratic urban journey: moving into a transient hotel, buying a temperamental communist-era car, meeting up with a long-lost classmate, random encounters with other women and repeatedly trying to get back together with Ana.

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An actress goes to Canal Siete's studios to act on a TV version of Chéjov's "The Seagull". As the leading actor doesn't appear, an assistant must take his place.

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Living the mundane existence of a professional bodyguard, always in the shadows of his clients, Ruben decides to make a change that will finally give him a personal connection outside of his solitary world.

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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.

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Four independent short stories but they have in common that they happen in Buenos Aires during legislative elections. A candidate for deputy, Carlos Celestini floods the city with his image and can be seen in each of the stories.

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Two men of low life travel by car under a sweltering sun. They do not find the place they are looking for, lost in a remote Argentine countryside. They arrive at a workshop to ask questions and events seem to take off. The short was part of "Short Stories I" (1995).

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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.

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Trelles and Amílcar share a room in a boarding house, the rent of which has not been paid for a long time. Trelles is a waiter in a typical Buenos Aires bar while Amilcar is an amateur bolero singer, who divides his time between sleeping and singing for free in a cabaret.

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Plot that shows the routine life of a young man who to break his schemes decides to go to live for a while on the beach, but once he has found satisfaction, he dies on his motorcycle.

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