Susana Leunda

Only a miracle can save the club San Telmo descending category. Everyone is waiting for the arrival of a Brazilian soccer player, a messiah of soccer that will guide them towards salvation in the match of the outcome. But when stepping on Buenos Aires, Santo will find a city full of dangers and must live an odyssey to get to the field, where he will face his fate.

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.

As it tends to happen in almost every field in Argentina, the official film history is still far from having a federal representation. Its heroes are either from Buenos Aires or have developed their career there, and until recently, no one asked themselves what happened beyond it. This documentary brings back one of those ignored fragments through the figure of Carlos Procopiuk, a man who inhabited, like nobody else, the ethics and aesthetics of a cinema made in a rabidly independent way. An all-terrain character who acted, wrote, produced, edited, directed and taught his community, in Neuquén between the 1950s and the 1990s, how to make films. With the memory still fresh and the eloquent images from his works, the documentary by Diego Lumerman settles a small part of that inestimable debt that Argentine film has with its history.

Five girls spend a hot weekend in a country house in the interior of the province of Formosa. One of them disappears without a trace. Little by little, what promised to be a peaceful afternoon in the countryside turns into a nightmare.

A lonely guy who lives with seven dogs get a complaint from his neighbors. Will he come up with a creative solution to overcome this?

Luisa works temporarily babysitting children in a factory. For an inopportune occasion, they are left with their boyfriend in charge of a boy who accidentally suffers from drug poisoning. Luisa and her boyfriend will be involved.

Juan, a thirteen year old boy, and Marco, his blind father due to the Falklands/Malvinas War, travel to his chilhood town in the north of Argentina. There he will discover an unknown side of the father and will take its own path to adulthood.

Juan, a thirteen year old boy, and Marco, his blind father due to the Falklands/Malvinas War, travel to his chilhood town in the north of Argentina. There he will discover an unknown side of the father and will take its own path to adulthood.

Fourteen-year-old Antonio was living with his father when suddenly one day his father didn't come home and didn't respond to his messages or phone calls. Antonio learns from a neighbor that his father has been hospitalized due to a motorcycle accident, and since then he has had to cope with life on his own; in addition to studying for schoolwork and feeding himself, he also has to spend money on fixing his car....... It is not easy to get through to the day when his father is released from the hospital, and Antonio discovers that his father has gone to the police station, and it turns out that the car accident has another hidden agenda...

A woman visits her boyfriend, locked up in a prison a few hours’ drive away from Buenos Aires. Each week, she manages as best as she can to accomplish her mission: provide her boyfriend food, drugs and love. In an exercise of visceral realism, Edgardo Castro constructs a harrowing love story with Las Ranas.