Agustín Gagliardi

In the 1980s, a team of lawyers takes on the heads of Argentina's bloody military dictatorship in a battle against odds and a race against time.

When their dad unexpectedly dies, two estranged sisters are brought together when they find his stash of millions behind a wall. But should they keep it?

With the strange disappearance of Laura, two colleagues, her older boyfriend, Rafael, and Ezequiel, learn of their recent discoveries, which may help them locate her. However, the story is bigger and stranger than they could imagine.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

On 10 December 2024, at around two o’clock in the afternoon, a homeless man immerses himself in a lake in a Buenos Aires park and disappears. From this news item, the filmmaker reflects on the films that will never be made and those that may still be possible.

Agustín, a comic book illustrator, doesn’t want to continue drawing. Perhaps he’s a talentless man, or maybe he just doesn’t feel like it. One day he has a dream in which he barges in her ex-girlfriend’s place. That same day, he wants to prove if everything is still there, the way he left it.

A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.

Iván is a Spanish film producer who travels to Argentina with a single mission: to meet Carmen Trevilla, a cult director who is in the creative process of her new “video.” From minute zero, he feels captivated by her overwhelming and disconcerting presence. Although he still does not know if he is going to produce it – since he thinks that his cinema will not be well received by current European sensibilities – Iván takes advantage of every moment with Carmen to record, with his cell phone in his hand and an endless smile on his face, every adventure they embark on.

Rodrigo and his mother travel to the town where his older brother just died. In this calm place they will go through the first stages of their mourning. Rodrigo will start to peer on grown-ups grief and, imperceptibly, will begin to leave childhood behind. His mother will try to uncover the mysteries surrounding that death. A story suspended in time, floating between the countryside lost places.

A sunny morning in Buenos Aires. All seems quiet, but then an odd race begins: a variety of people are after a backpack. A little army of seekers surprises us at every corner. Suddenly, a lonely bureaucrat (Mapache) is involved in this adventure, and new, mysterious and unknown people start to populate his life, all running around the popular Argentinian city to obtain the backpack which seems to be crucial to his own fate, according to the words of his new accomplice, magician and tarot reader Luminitsia.

Clara is on her way out of the city on a family trip to the outskirts. She receives a message from Martina, her childhood friend, the person she'd been with the night of the tragedy at the República Cromañón club, bringing the idea of motherhood into the foreground. This shot of the present day and reality in a series of WhatsApp texts, home videos and family lunches sparks an exhaustive look back at her own adolescence and that of her friends in a city ravaged by the crisis and by a tragedy.

Pedro and Sol have just finished their last year of school and begin their vaca- tions. They dedicate their free time in summer to approach, little by little, tasks that perhaps one day will become their professions. Sol uses her piano lessons to review old musical recordings and prepares an exam for the music conservatory. Meanwhile, Pedro takes an interest in dramaturgy and starts a writing workshop without telling anyone. In these days shared with other young and adult people, Pedro and Sol watch. They are growing up, even without realizing it.

Ignacio has the same dream every night. This dream is destroying everything from the inside of his mind: his job, his romance, his personality, his world. Is it a vision, a sickness, or a simple whim?

In 1899, German neurobiologist Christofredo Jakob arrived in Argentina to conduct his research at the Hospital de las Alienadas, an insane asylum for women. More than a century later, in a semi-abandoned ward of what is now the Hospital Moyano, the traces of that experience appear in the form of brains and heads preserved in formaldehyde, stuffed animals and photographs from the patients who inhabited the hospital.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

Antonio wanders the streets of Buenos Aires in search of money and sex. The magnetism he exerts on the people who cross his path allows him to steal and cheat them. Only his mother, with whom he has a confictual relationship, will get over his feeling of impunity and will push him to leave for a trip to the south of Argentina.

No synopsis available yet.

Julia and Diego spend a weekend taking care of Diego’s nephew, in a house far from the city. Everything goes on normally until Julia’s visit to the hospital changes completely their relation.