Paula Romero Levit

A young woman proposes to the passengers of a full bus a change in seats. On the trip they will discover that, regardless of the result, it is always good to review the established order.

A woman leaves her son on his 5th birthday and goes out to look for what she doesn't have: a job. What could be just another party becomes complicated when a shrewd grandmother suspects that the child does not belong to her grandson's group of classmates.

This film weaves out of reality and fantasy and present day to the past through flashbacks from it's very beginning that the viewer is playing catchup to a film that never really gets off the ground. This is the story of Olmo whose mother left his father when he was young and is brought up to believe she is dead. The father and son live under an Argentine dictatorship and live in a warehouse spending their days cataloging and archiving anything and everything from toys to chairs and a vast collection of subversive propaganda. After the father's sudden death, Olmo sets off in the real world with the help of a young woman he has met to Galicia, Spain clutching a postcard that his mother had sent from there many years before.

A reconstruction of the artistic memory of the Biancos, Pelicoris, and Alonsos, a family interwoven with theater, film, and radio drama. Through the intimate puzzle piece that sisters Ingrid Pelicori and Irina Alonso piece together, the film rescues an essential legacy of Argentine cultural heritage and invites us to immerse ourselves in the golden decades of the 1940s through the 1970s.

The annual short film competition for directors organized and produced by INCAA presents nine new works.

In Rivera 2100, a corner house facing a railway’s warehouse in the suburbs of Buenos Aires, a young newlywed couple built, with its own hands, a house that was the beginning of their own cultural zeitgeist; a safe haven that irradiated music, art and freedom, in the midst of a country that was living its darkest and most violent time.

A young woman proposes to the passengers of a full bus a change in seats. On the trip they will discover that, regardless of the result, it is always good to review the established order.

A woman leaves her son on his 5th birthday and goes out to look for what she doesn't have: a job. What could be just another party becomes complicated when a shrewd grandmother suspects that the child does not belong to her grandson's group of classmates.

A woman leaves her son on his 5th birthday and goes out to look for what she doesn't have: a job. What could be just another party becomes complicated when a shrewd grandmother suspects that the child does not belong to her grandson's group of classmates.

This film weaves out of reality and fantasy and present day to the past through flashbacks from it's very beginning that the viewer is playing catchup to a film that never really gets off the ground. This is the story of Olmo whose mother left his father when he was young and is brought up to believe she is dead. The father and son live under an Argentine dictatorship and live in a warehouse spending their days cataloging and archiving anything and everything from toys to chairs and a vast collection of subversive propaganda. After the father's sudden death, Olmo sets off in the real world with the help of a young woman he has met to Galicia, Spain clutching a postcard that his mother had sent from there many years before.

A reconstruction of the artistic memory of the Biancos, Pelicoris, and Alonsos, a family interwoven with theater, film, and radio drama. Through the intimate puzzle piece that sisters Ingrid Pelicori and Irina Alonso piece together, the film rescues an essential legacy of Argentine cultural heritage and invites us to immerse ourselves in the golden decades of the 1940s through the 1970s.

The annual short film competition for directors organized and produced by INCAA presents nine new works.

In Rivera 2100, a corner house facing a railway’s warehouse in the suburbs of Buenos Aires, a young newlywed couple built, with its own hands, a house that was the beginning of their own cultural zeitgeist; a safe haven that irradiated music, art and freedom, in the midst of a country that was living its darkest and most violent time.

The annual short film competition for directors organized and produced by INCAA presents six new works.