Los Qu

August 1993. Dani has just turned 13. His family moves to a house in the suburbs. New school, new friends, new challenges. The beginning of a new life. But the discovery of an abandoned box in his new closet will take Dani on the journey of his life. A box keeping Miguel’s past; his dreams, tears, and worries, makes Dani confront his stand on his own future, considering that perhaps the weirdos are the rest, the bigots, not him.

A story of the sexual adventures of three fifteen year old girls: Elisa, Marian and Susi.

In the rural desert of Bolivia, where the most important presence is the wind moving between papa flowers and animals, the people who harvest the land, those who built the ancient artifacts and sacred objects and the musicians who play moseñada – songs linked to the first products of the harvest – on the streets of the city have one point in common: labor. With a successful inclusion of stories of enchanted lakes, legends that pass from mouth to mouth – or from orality to audiovisual, in this case – and give a fantastic aura to those lands, Luciana Decker Orozco not only manages to capture life without oscillations . field, but resorts to the incessant movement of images and sound accompaniment to define a sensory and transcendental experience for the viewer.

Julia, wife of a wealthy lord living near the Iguazu Falls, has nightmares for several days. The lord builds a fence to ward off the indigenous people, the Guarani tribe, but Julia is still anxious about her son Manuel’s safety. One day Manuel suddenly disappears, and when searching for him, Julia runs into her maid, Kerana, who was believed to have died one year before, under the falls.

Grieving widow finds new purpose in life as director of an orphanage.

An unexpected event changes the daily life of Natalia who lives her days among plants and newspapers. The loneliness that has accompanied her for so many years begins to confuse her, passing between real and unreal worlds.

In the microcosm of a private school, the latent traumas of adults coexist with the teenager’s wild search for identity. From somewhere on its walls, travelers could glimpse suggestive ports, but no one finds enough energy to leave the trip. The fruits of the past lay roots that imprison and immobilize those who close their eyes as salvation.

Cayetana, her boyfriend Paco and Venancio, her foster brother, commit small thefts and, from time to time, spend a few days in jail. Until they meet with Federico, a thief who has traveled abroad and convince them that using European methods success is guaranteed. Paco then decides to act scientifically and seizes a hospital surgical equipment. When they want to realize, poor Venancio is forced to give an injection to a dentistry patient and, even worse, Paco has to pull out a tooth. And all that, before entering the operating room

"Unearths, the books we do not inherit" delves into the family memory of Maria Julia Blanco, its director. The unearthing of his father's student library - recovered in 2018 - is the starting point. Julia guides us through the province of Santa Fe following her family's story. Historian and bibliophile by choice, Julia takes books, which do not know what has happened on the surface, as a starting point to excavate family memory. Little by little it becomes evident that, in the remains of the books, both family history and Argentine history can be reread.

A small disparate group of people board a multi-day, multi-stop flight from Mexico City to Buenos Aires. A remake of the film Five Came Back (1939) directed by John Farrow.

A surprise visit from his parents forces a young man to deal with coming out to his parents or losing the man he loves in the process of keeping things hidden.

The film tells the story of an imigrant to Argentina who works for the railway company of this land. Being a witness to the history of the land of silver in this century the film is also a shortcut of the changes in Argentina during the last 100 years.

In July 1965, the Beatles visited Spain to give only two concerts: one at the Plaza de Toros de las Ventas, in Madrid, on June 2, and the other, the following day, at the Monumental in Barcelona. It was a quick and unexpected visit that the Franco regime did not take kindly to, and which gave rise to succulent anecdotes.

Enrique was separated from his mother at birth, Ascension was forced to give up her daughter after giving birth. Both are victims of the "stolen babies" plot, a slippery ground for Spanish justice. While they continue with the legal battle, they continue with their searches, living with guilt, rejection and the construction of their own identity.