Claudio Miño

Two friends decide to form a 'tango-trash' band. The woman of one of these friends is kidnapped by the leader of a female gang, bringing consequences in its aftermath. This all happens in the precarious urban regions surrounding the European-like city of Buenos Aires; in these areas everything resembles the universe of Western films.

Antonio Molina is a criminal in decline that tries to regain the respect for friendship and commitment, at any cost.

José Celestino Campusano continues his task of exploring territories that haven’t yet been covered much by Argentine cinema, but with which, film after film, he managed to configure his own universe. This time, the prolific filmmaker traveled to the locality of Gálvez, in the province of Santa Fe, in order to collect town life experiences and, with them, shape his new feature. The Naked Queen is the result of this journey.

Delfina is a beautiful woman of 45 years who enjoys a good economic spend and shares her life with her faithful husband and her teenage daughter. Through an intimate friend, Delfina meets Kamil, a supposed high-ranking businessman.

Román, who is dedicated to the protection of political leaders and tries to develop himself as a trainer and manager of boxers, is harassed by a duo of abusive representatives who in turn have been hired as a shock force by an opposing political party.

A tale based on the criminal path of a fearsome nomad family. Inspired by true events, it depicts the vulnerability of people before the ineffectiveness of the State's institutions.

Simón is the owner of a hardware store in the greater Buenos Aires area with four employees. Constantly mistreating them, he never gives them a break, creating a high level of unease in the everyday work routine. Absolutely submerged into the world of labor, The Spider's Lullaby weaves its story with each tension that shape management authoritarianism but also solidarity, resistance, and vile deeds among colleagues.

Ariel is a good-looking farm boy who lives with his father and sister in a rural part of Buenos Aires province. He has become familiar with sex thanks to Omar, a priest with whom he has a secret affair.

Vero lives with her older brother Abel, and they both work together at a construction site. There she has to put up with the advances of some of the workers, which is something she’s used to doing because she’s had this job since she was a lot younger. In the Border follows this character on her path to becoming a better person, which is represented in her way of helping a cousin with an abusive husband and in the NGO she signs up for to give food to the homeless who live on Paseo Colón Avenue. But there’s another parallel film here, and it’s the one in which Campusano’s eye captures the City of Buenos Aires in his own unique way. One of those great moments takes place as soon as the film begins, when Campusano stops to film some street musicians while they rap on a subway platform.

A girl comes to town to work as a dancer, an entrepreneur of the night becomes his manager. A journalist in decline, looking for the news that catapults him. All three converge in the VIP Sector, where human trafficking, fake news and transgressions of power coexist.