Félix "Chango" Monti

Bernardo has turned 90 and is working to realize a dream: to make a film about art. He spends countless hours writing the script. He understands it's an arduous and complex task: What is art? When is there art? What is the purpose of art? Antonio, his friend, decides to collaborate, lending his knowledge and experience to the project. Marcelo meets Bernardo through Lucy, his partner of over 60 years, and finds him deep in his work, immersed in the uncertainties, frustrations, and joys inherent in any creative process. Watching him work, something of Bernardo's dream awakens in Marcelo a desire, another dream. He offers his help, while also asking to be able to capture Bernardo's daily work with his own eyes, thus creating his film. A dream that gradually shifts from the work Antonio sculpts on Bernardo's camera to Marcelo's gaze.

"For her next movie, De eso no se habla, María Luisa Bemberg needs a dwarf". That was an ad on local media during the pre-production of the movie that would become the director's last. Among the people who responded to the ad was Alejandra Podestá, who ended up getting the leading role alongside Marcello Mastroianni. Through testimonies of various friends, members of the crew, and the words of Alejandra herself, who was brutally murdered in 2011, A Beautiful Dream tells us the story of the making of the film and the relationship between Bemberg and Podestá, which winds up being a tribute to both women.

The filmmaker, writer and teacher-teacher Ricardo Becher likes extreme decisions, both in his life and in his work. Now, at 80 years of age, he begins a new book called “Recta Final”, about his geriatric experience. Lipgot portrays the present of the filmmaker, at the same time that he reviews his history, from his first shorts and the collaboration with Torre Nilsson, passing through the fundamental "Shot of Grace" (1969) - a film that defied its time and was censored -, leading to the new movement that Becher founded with his students: digital neo-expressionism

Making of documentary

Félix Monti is synonymous with cinematography in Argentina. From his early steps in the legendary San Miguel studios to his recent work in large-scale Argentine film productions, Chango has never stopped working. Directors Alejandra Martín and Paola Rizzi, also colleagues of his, chose not to shoot a motionless documentary and filled it with vitality –the same vitality the experienced cinematographer moves around with in every shoot or stage he sets foot in.