Rosario Bléfari

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Lila, a dedicated cleaning staff employee, runs an unofficial cafeteria with her friend Marcela. When she is officially promoted to direct it, tensions arise with Marcela that upset the delicate balance of the office after 30 years of camaraderie.

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Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

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In One Hundred Paths: Suárez. Second Part the director accompanies Gonzalo, Rosario, Fabio and Diego thorugh Europe. The approach to the private world of the band continues in the old continent, but the best thing about this follow-up is the contagious excitement of the group on tour.

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Ten-year-old Axel lives with his mother and three sisters in a flat in Buenos Aires. They’d be a perfectly normal family if only the mother weren't imprisoned in one of the rooms.

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Inès, a professional photographer, decides to complete a book she is working on before she gives birth to her first child. This photography project, related to the memories of her childhood, always brings her back to the same place: the family home in southern Argentina that shaped her youth and forged her character. It also contains the only photo Inès still has of her with her father, before he disappeared as a victim of the military dictatorship. This photo is the starting point of a jigsaw puzzle of fragmentary memories about the relationships Inès had with her mother and her brother.

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From a screeching lo-fi sound to luminous pop songs; from a split with Juana La Loca to a Le Mans tribute EP; from a cassette tape with a red star in the groundbreaking film Rapado to the lead singer's main role in Silvia Prieto. In sum: from 1989 to 2001, Suárez rode the scene and stages of Argentine indie rock with great freedom, elegance and intelligence. Also during all those years, its members recorded on video many of its intimate moments and public tours. Blanco wisely sticks to organizing and polishing that analogic repertoire without adding anything else, and he lets Suárez dazzling mystery reveals itself slowly amidst jokes, music videos, dodgy video-camera effects, and lots and lots of other answering machines.

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After being expelled for a flagrant foul during a match in Primera C (the fourth division in Argentinian football), Patón Bonasiolle, the captain and midfielder from Talleres de Escalada, realizes his career as a footballer has come to an end. At the age of 35, this means the end of a world he has known since he was a child. Together with Ale - his wife - he looks for a fresh new start.

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Sergio and his family work in an estate in Argentina’s northern region. When their employers aren't home, they occupy the main house and emulate the life of the owners. Then Pia, the eldest daughter of the owner, arrives at the estate with the intention of staying a few days until her father’s marriage...

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During one hot summer day, little things happen to the visitors and workers of an old thermal resort in southern Chile. Julieta, Francisco, Isa, Rodrigo, Ignacio, Mariana, Muriel, Gabriela, Eliseo, Norma, Alejandra and Claudio experience the long vacation hours in nature, sleeping in the sun, learning how to drive, cleaning the house, kissing for the first time, swimming at night or just walking and talking, while the day slowly unravels into small fragments of happiness and discovery.

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A small tribute in memory of the filmmaker Raúl Ruiz.

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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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Most of the film takes place in a hotel owned by Clara, where the teacher or spiritual guide, Nicolai, gathers groups of people and through talks and examples, shows each one the path to follow.

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Thirteen short films directed by thirteen directors, based on the recitals of Argentino en Vivo 2.

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After her 27th birthday, Silvia Prieto decides to take charge of her life and make some changes. At the same time, she suddenly finds herself intertwined in the life of another woman who is also named Silvia Prieto.

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Based on the poetry of Alejandra Pizarnik, ”Vertigo, or contemplation of something that falls”, tells the story of the writer's life through stories from her family, friends and admirers.

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Film composed of nine short films. Short Stories 0, was released in 1993 and did not yet have that name because they were separate shorts. It would later become the prestigious annual short film competition for directors organized and produced by INCAA.

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After the theft of his motorcycle, Lucio bums aimlessly around Buenos Aires drifting from one arcade and record store to the next, indulging in short chats with friends and, more often, setting out onto the streets alone.

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A 17th-century Mexican nun defies expectations by becoming a renowned intellectual and writer during the Spanish Inquisition.

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Dreams and reality mix-up in the life of a middle class woman in his 20s who is depressed and distressed.

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In a city of the too near future, a city designated for desolation, aggression, and political instability, Miguel Galvan (Hugo Soto) is shot accidentally during a demonstration. This time and space provides a back drop to an intriguing sequence of events where three characters try desperately to survive: the wounded Miguel, an antagonistic policeman (Juan Leyrado), and a foolish vigilante smartly acted by cult rock star Charly Garcia of Sui Generis and Serú Girán fame, who also composed the film's score.

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In seven scenes set in South America, the film deals with the various conflicts and (power) relationships between men and women. The individual episodes also deal with specific female role models: the bride, the wife, the rival, the abandoned, the fiancée, the abused and the determined. The scenes show a passionate, romantic longing for love, but also the harsh reactions when a promise of happiness is not so easily fulfilled. It is about heartbreak and longing, jealousy and hatred, exploitation and self-inflicted submission. Nevertheless, the basic tone remains hopeful. The stylized images are structured by off-screen commentary and tango rhythms.

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A turbulent era in Argentine politics is highlighted in this well-wrought drama, set in Buenos Aires at the end of 1945, about Clara (Graciela Borges), a young, half-Jewish woman awakening to the reasons behind the political conflicts of her time and place. Clara's father was a Communist who fought the Nazis in Argentina and possessed a list of the top Nazi exiles and their contacts. Through a former lover, Clara -- a successful broadcast journalist -- begins to see her Jewish roots (and the leftists) in a whole new light. Meanwhile, the political storms sweeping through Argentina are setting the stage for the Peronist government to come.

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An early black-and-white mood piece, Rejtman’s lyrical short film fuses a young couple’s passage into early adulthood with a journey through Buenos Aires in the quietest moments at the very break of day.

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From a screeching lo-fi sound to luminous pop songs; from a split with Juana La Loca to a Le Mans tribute EP; from a cassette tape with a red star in the groundbreaking film Rapado to the lead singer's main role in Silvia Prieto. In sum: from 1989 to 2001, Suárez rode the scene and stages of Argentine indie rock with great freedom, elegance and intelligence. Also during all those years, its members recorded on video many of its intimate moments and public tours. Blanco wisely sticks to organizing and polishing that analogic repertoire without adding anything else, and he lets Suárez dazzling mystery reveals itself slowly amidst jokes, music videos, dodgy video-camera effects, and lots and lots of other answering machines.

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