Iván Fund

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

Five challenging young men gather in a closed courtyard. The chords of a rock band emerge from the silence that the siesta emanates. Immutable, they play as time unfolds and loses the stability of the present.

Santa Fe - notes, 2017 - 2019 is a story made up of fragments of landscapes, buildings, voices and objects. It is a film built on the relationship between art and the colony, memory and threat, native peoples and silence.

Through different situations, the narration is introduced into the life of old García (a lonely and enigmatic man who lives and works in an astronomical observation center that has been operating since the sixties in the city of Santa Fe), of Marcelo ( a young man passionate about the unfathomable mysteries of the cosmos) and Noelia (a student who will start working as Garcia's assistant).

Arita and Balencha, two young girls and close friends are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if your boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you have grown up in. But time passes and change happens, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then their days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours.

After numerous rejections, Ema's parents finally find a safe place for their daughter who has been diagnosed on the autism spectrum. In the loving community of the new primary school in the small town on the river, Ema can silently observe and explore the world at her own pace. The film gently follows Ema's small steps that evolve into magical moments.

After numerous rejections, Ema's parents finally find a safe place for their daughter who has been diagnosed on the autism spectrum. In the loving community of the new primary school in the small town on the river, Ema can silently observe and explore the world at her own pace. The film gently follows Ema's small steps that evolve into magical moments.

After numerous rejections, Ema's parents finally find a safe place for their daughter who has been diagnosed on the autism spectrum. In the loving community of the new primary school in the small town on the river, Ema can silently observe and explore the world at her own pace. The film gently follows Ema's small steps that evolve into magical moments.

After numerous rejections, Ema's parents finally find a safe place for their daughter who has been diagnosed on the autism spectrum. In the loving community of the new primary school in the small town on the river, Ema can silently observe and explore the world at her own pace. The film gently follows Ema's small steps that evolve into magical moments.

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

Greta and Bruno, her husband, struggle with grief after the disappearance of their son. Their friend Sina travels to the coast to help them sell their summer house.

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

Organism is, among other things, the story of a young woman and her pet, a small dog named Italia. It's also a new piece added to the extended work of Iván Fund, where the documentary record blurs with fiction in order to create (or describe) small intimate universes where the director's relationship with his characters result in an area where emotions and sensibility rule using small everyday events that push the story forward.

Organism is, among other things, the story of a young woman and her pet, a small dog named Italia. It's also a new piece added to the extended work of Iván Fund, where the documentary record blurs with fiction in order to create (or describe) small intimate universes where the director's relationship with his characters result in an area where emotions and sensibility rule using small everyday events that push the story forward.

Organism is, among other things, the story of a young woman and her pet, a small dog named Italia. It's also a new piece added to the extended work of Iván Fund, where the documentary record blurs with fiction in order to create (or describe) small intimate universes where the director's relationship with his characters result in an area where emotions and sensibility rule using small everyday events that push the story forward.

Arita and Balencha, two young girls and close friends are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if your boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you have grown up in. But time passes and change happens, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then their days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours.

Arita and Balencha, two young girls and close friends are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if your boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you have grown up in. But time passes and change happens, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then their days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours.

Three women travel to a distant place to do welfare work. They assist, listen, stay with the unprotected. An old hospital in ruins accommodates them. The imposed group life gets more complex as they start to know each other. The relationship with the others, the community, is also difficult. But, as days go by, they will start to melt into that human landscape surrounding them. To be part of the mystery of otherness.

Michi, a village tarot reader, has lost his dog Ernesto, between kennels and drunkenness, Michi's wandering daily search to reunite with his pet intersects and confuses the relationship he has with Pepo and Yasu, a young couple, and with Eva, a policewoman who patrols the dirt streets that are the horizon of vernacular geography.

Michi, a village tarot reader, has lost his dog Ernesto, between kennels and drunkenness, Michi's wandering daily search to reunite with his pet intersects and confuses the relationship he has with Pepo and Yasu, a young couple, and with Eva, a policewoman who patrols the dirt streets that are the horizon of vernacular geography.

Michi, a village tarot reader, has lost his dog Ernesto, between kennels and drunkenness, Michi's wandering daily search to reunite with his pet intersects and confuses the relationship he has with Pepo and Yasu, a young couple, and with Eva, a policewoman who patrols the dirt streets that are the horizon of vernacular geography.

Three stories inspired by stories by Juan José Saer. A police officer returns to his hometown to investigate a murder; a teacher complains about a horse that has been abandoned. One day, a man is found dead, and there is no trace of the horse, which is the only witness to the murder.

The preparations of a sound installation by artist Ernesto Romeo is suspended when his mother falls ill. This interruption motivates the director to embark on a series of projects that share a mysterious connection to each other.

Mariana, 15, escapes the violence of her home in Santa Fe. She embarks on a search for her biological father and takes refuge in an orphanage where she finds affection from a distant relative. On his journey through the interior of the province, he discovers its inner strength.

Through different situations, the narration is introduced into the life of old García (a lonely and enigmatic man who lives and works in an astronomical observation center that has been operating since the sixties in the city of Santa Fe), of Marcelo ( a young man passionate about the unfathomable mysteries of the cosmos) and Noelia (a student who will start working as Garcia's assistant).

Through different situations, the narration is introduced into the life of old García (a lonely and enigmatic man who lives and works in an astronomical observation center that has been operating since the sixties in the city of Santa Fe), of Marcelo ( a young man passionate about the unfathomable mysteries of the cosmos) and Noelia (a student who will start working as Garcia's assistant).

Through different situations, the narration is introduced into the life of old García (a lonely and enigmatic man who lives and works in an astronomical observation center that has been operating since the sixties in the city of Santa Fe), of Marcelo ( a young man passionate about the unfathomable mysteries of the cosmos) and Noelia (a student who will start working as Garcia's assistant).

Three stories inspired by stories by Juan José Saer. A police officer returns to his hometown to investigate a murder; a teacher complains about a horse that has been abandoned. One day, a man is found dead, and there is no trace of the horse, which is the only witness to the murder.

A couple's trip; a car, a route, fields, houses, bars, another car.

A couple's trip; a car, a route, fields, houses, bars, another car.

A couple's trip; a car, a route, fields, houses, bars, another car.

A couple's trip; a car, a route, fields, houses, bars, another car.

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

Short film by Iván Fund

A ballet performed by construction workers.

A ballet performed by construction workers.

A ballet performed by construction workers.

A ballet performed by construction workers.

A ballet performed by construction workers.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

Documentary about the Servian Circus, its owner and creator (Jorge Servian) and the artists who participate in it.

Father and daughter. Portraits of a coexistence and all its fissures: when the fragments and each moment reveal the daily nature of the disagreement, and the silence, the simple intuition of the lack, asks through every crack for a minimal gesture, beats in resonance, the deep reconciliation between past and out of time.

Father and daughter. Portraits of a coexistence and all its fissures: when the fragments and each moment reveal the daily nature of the disagreement, and the silence, the simple intuition of the lack, asks through every crack for a minimal gesture, beats in resonance, the deep reconciliation between past and out of time.

Father and daughter. Portraits of a coexistence and all its fissures: when the fragments and each moment reveal the daily nature of the disagreement, and the silence, the simple intuition of the lack, asks through every crack for a minimal gesture, beats in resonance, the deep reconciliation between past and out of time.

Three stories inspired by stories by Juan José Saer. A police officer returns to his hometown to investigate a murder; a teacher complains about a horse that has been abandoned. One day, a man is found dead, and there is no trace of the horse, which is the only witness to the murder.

In a working-class neighborhood, in the outskirts of a small town, a group of children is faced with a strange and terrifying incident, which will soon develop into a true epidemic: all adults have turned into “sleepy beings”. The children, petrified yet determined, try hard to keep their spirits high and not give up hope that somehow, someday, their parents will “wake up”. As this uncanny drama unfolds, the stories of the “sleepers” are uncovered through the traces of their absence. A poetic and haunting reflection on loneliness and loss, a silent cry for companionship and human touch.

Three women travel to a distant place to do welfare work. They assist, listen, stay with the unprotected. An old hospital in ruins accommodates them. The imposed group life gets more complex as they start to know each other. The relationship with the others, the community, is also difficult. But, as days go by, they will start to melt into that human landscape surrounding them. To be part of the mystery of otherness.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

Renata seeks refuge in the house of Virginia, her sister. Virginia lives a quiet life with her son Lucio in a provincial city and the only thing that seems to worry her are the ants that have invaded her home. Renata has nowhere to go. Virginia wants to help her and receives her; But the days pass and the drama of daily life begins to reveal the link between them, the pain of recognizing and rediscovering each other in a past that returns and takes strange forms.

A man in a suit makes successive trips, bus, on a raft, on foot. Carry a bag with money for the rescue of his wife's kidnapping. Wait for the timely signal to act. The trips are made to corroborate that there is no police observing. He is a single man. These journeys are useless, erratic. The landscape of the suburbs of a border city is something new, unknown to him. As distant and different as the Arctic.

Michi, a village tarot reader, has lost his dog Ernesto, between kennels and drunkenness, Michi's wandering daily search to reunite with his pet intersects and confuses the relationship he has with Pepo and Yasu, a young couple, and with Eva, a policewoman who patrols the dirt streets that are the horizon of vernacular geography.

Organism is, among other things, the story of a young woman and her pet, a small dog named Italia. It's also a new piece added to the extended work of Iván Fund, where the documentary record blurs with fiction in order to create (or describe) small intimate universes where the director's relationship with his characters result in an area where emotions and sensibility rule using small everyday events that push the story forward.

Dignified, strong and formidable, and oozing erotic attraction: young malambo dancer Gaspar is at one with his passion for dance that he has made his profession.

A man in a suit makes successive trips, bus, on a raft, on foot. Carry a bag with money for the rescue of his wife's kidnapping. Wait for the timely signal to act. The trips are made to corroborate that there is no police observing. He is a single man. These journeys are useless, erratic. The landscape of the suburbs of a border city is something new, unknown to him. As distant and different as the Arctic.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

Arita and Balencha, two young girls and close friends are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if your boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you have grown up in. But time passes and change happens, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then their days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours.

La Paz is the story of Liso, a young man who emerges from a psychiatric institution and tries to re-adapt to daily life in the universe of his middle class family and neighborhood. Though everything seems difficult, under the surface and very subtly things start to change for him.

Michi, a village tarot reader, has lost his dog Ernesto, between kennels and drunkenness, Michi's wandering daily search to reunite with his pet intersects and confuses the relationship he has with Pepo and Yasu, a young couple, and with Eva, a policewoman who patrols the dirt streets that are the horizon of vernacular geography.

Downtrodden after some missteps in life, Daniel returns home. Work is non-existent, his ex-wife expects financial help he can't give her, and things are looking bleak. Yet as he prepares to become Godfather to his sister's son, who's soon to be baptised, he rediscovers a purpose - for a few days, at least.

Two brothers await with their dying mother the precise moment that the rain gives them a break. The harvest has had its time to ripen and has begun to weaken. They would make a decision: stay there to take care of her or go out to do the job before the water destroys the crop.

Follows a group of friends adrift in a swampy after-hour: at dawn after a party, where the body struggles between arousal and extenuation.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

In a working-class neighborhood, in the outskirts of a small town, a group of children is faced with a strange and terrifying incident, which will soon develop into a true epidemic: all adults have turned into “sleepy beings”. The children, petrified yet determined, try hard to keep their spirits high and not give up hope that somehow, someday, their parents will “wake up”. As this uncanny drama unfolds, the stories of the “sleepers” are uncovered through the traces of their absence. A poetic and haunting reflection on loneliness and loss, a silent cry for companionship and human touch.

A young actress directs a casting for a film about the flood in Santa Fe. Between the voices of people, current, past, and her own experience of the landscape, questions begin to arise.

A young actress directs a casting for a film about the flood in Santa Fe. Between the voices of people, current, past, and her own experience of the landscape, questions begin to arise.

After numerous rejections, Ema's parents finally find a safe place for their daughter who has been diagnosed on the autism spectrum. In the loving community of the new primary school in the small town on the river, Ema can silently observe and explore the world at her own pace. The film gently follows Ema's small steps that evolve into magical moments.

Through different situations, the narration is introduced into the life of old García (a lonely and enigmatic man who lives and works in an astronomical observation center that has been operating since the sixties in the city of Santa Fe), of Marcelo ( a young man passionate about the unfathomable mysteries of the cosmos) and Noelia (a student who will start working as Garcia's assistant).

Dignified, strong and formidable, and oozing erotic attraction: young malambo dancer Gaspar is at one with his passion for dance that he has made his profession.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

Arita and Balencha, two young girls and close friends are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if your boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you have grown up in. But time passes and change happens, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then their days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours.

As if it were a continuation of the last 15 minutes of AB, Fund and Loza, now accompanied by Moriconi, radicalize the aesthetic procedure of the previous film made together: on the one hand, there is a free text, between poetic and philosophical, pronounced voiced by two men and a woman; on the other, a set of plans of different ecosystems, live and stuffed animals, clouds, waterfalls and lava, organized by a kind of poetic logic, makes up the visual material. The disjunction between text and image is programmatic, and in parallel they constitute a form of free poetic expression. The precariousness of existence is evidence, and the very composition of the images is in line with this empirical confirmation. The general discourse oscillates between a heterodox Franciscan Christianity and a sensitive Darwinism, and in the same way a kind of awareness of terror and amazement towards the universe is combined.

Downtrodden after some missteps in life, Daniel returns home. Work is non-existent, his ex-wife expects financial help he can't give her, and things are looking bleak. Yet as he prepares to become Godfather to his sister's son, who's soon to be baptised, he rediscovers a purpose - for a few days, at least.

Father and daughter. Portraits of a coexistence and all its fissures: when the fragments and each moment reveal the daily nature of the disagreement, and the silence, the simple intuition of the lack, asks through every crack for a minimal gesture, beats in resonance, the deep reconciliation between past and out of time.

A man in a suit makes successive trips, bus, on a raft, on foot. Carry a bag with money for the rescue of his wife's kidnapping. Wait for the timely signal to act. The trips are made to corroborate that there is no police observing. He is a single man. These journeys are useless, erratic. The landscape of the suburbs of a border city is something new, unknown to him. As distant and different as the Arctic.

Two brothers await with their dying mother the precise moment that the rain gives them a break. The harvest has had its time to ripen and has begun to weaken. They would make a decision: stay there to take care of her or go out to do the job before the water destroys the crop.

A couple's trip; a car, a route, fields, houses, bars, another car.

Short film by Iván Fund

A ballet performed by construction workers.

In a working-class neighborhood, in the outskirts of a small town, a group of children is faced with a strange and terrifying incident, which will soon develop into a true epidemic: all adults have turned into “sleepy beings”. The children, petrified yet determined, try hard to keep their spirits high and not give up hope that somehow, someday, their parents will “wake up”. As this uncanny drama unfolds, the stories of the “sleepers” are uncovered through the traces of their absence. A poetic and haunting reflection on loneliness and loss, a silent cry for companionship and human touch.

In a working-class neighborhood, in the outskirts of a small town, a group of children is faced with a strange and terrifying incident, which will soon develop into a true epidemic: all adults have turned into “sleepy beings”. The children, petrified yet determined, try hard to keep their spirits high and not give up hope that somehow, someday, their parents will “wake up”. As this uncanny drama unfolds, the stories of the “sleepers” are uncovered through the traces of their absence. A poetic and haunting reflection on loneliness and loss, a silent cry for companionship and human touch.

In the Argentinian countryside, a child's special gift gives her opportunistic guardians the idea of offering consultations with her as an animal medium in order to earn a living.

La Paz is the story of Liso, a young man who emerges from a psychiatric institution and tries to re-adapt to daily life in the universe of his middle class family and neighborhood. Though everything seems difficult, under the surface and very subtly things start to change for him.

Downtrodden after some missteps in life, Daniel returns home. Work is non-existent, his ex-wife expects financial help he can't give her, and things are looking bleak. Yet as he prepares to become Godfather to his sister's son, who's soon to be baptised, he rediscovers a purpose - for a few days, at least.

Three women travel to a distant place to do welfare work. They assist, listen, stay with the unprotected. An old hospital in ruins accommodates them. The imposed group life gets more complex as they start to know each other. The relationship with the others, the community, is also difficult. But, as days go by, they will start to melt into that human landscape surrounding them. To be part of the mystery of otherness.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

"I was not afraid today" are two films at the same time. The first one portrays two sisters in their daily lives and the second one gets rid of the linear narration in search of a free manipulation of the visual and sound texture.

Follows a group of friends adrift in a swampy after-hour: at dawn after a party, where the body struggles between arousal and extenuation.

Follows a group of friends adrift in a swampy after-hour: at dawn after a party, where the body struggles between arousal and extenuation.

Follows a group of friends adrift in a swampy after-hour: at dawn after a party, where the body struggles between arousal and extenuation.

Follows a group of friends adrift in a swampy after-hour: at dawn after a party, where the body struggles between arousal and extenuation.

Greta and Bruno, her husband, struggle with grief after the disappearance of their son. Their friend Sina travels to the coast to help them sell their summer house.

Greta and Bruno, her husband, struggle with grief after the disappearance of their son. Their friend Sina travels to the coast to help them sell their summer house.

Three women travel to a distant place to do welfare work. They assist, listen, stay with the unprotected. An old hospital in ruins accommodates them. The imposed group life gets more complex as they start to know each other. The relationship with the others, the community, is also difficult. But, as days go by, they will start to melt into that human landscape surrounding them. To be part of the mystery of otherness.

An incomplete travel (and sound) chronicle; a place occupied by maps and globes; a recollection of memories instead of the repetition of an imprecise image. In the spaces that remain between these surfaces, Recording Rituals intends to meditate on the relationship between landscape and archive in the construction of imaginary communities and material memory.

In the Argentinian countryside, a child's special gift gives her opportunistic guardians the idea of offering consultations with her as an animal medium in order to earn a living.

In the Argentinian countryside, a child's special gift gives her opportunistic guardians the idea of offering consultations with her as an animal medium in order to earn a living.

In the Argentinian countryside, a child's special gift gives her opportunistic guardians the idea of offering consultations with her as an animal medium in order to earn a living.

Three imperfect ways of remembering. The image, the story, the sound; the gestures that survive the noise.

High school students find their way in life at Las Delicias agrotechnical boarding school in the Argentine countryside. This striking coming-of-age film takes place against an inviting backdrop of fields of crops, greenhouses full of tomato plants, and the somewhat dilapidated school buildings, where dogs and chickens roam.

Greta and Bruno, her husband, struggle with grief after the disappearance of their son. Their friend Sina travels to the coast to help them sell their summer house.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

Early 2000s. The economy at crisis, the final years of TV's reign, the public was still gullible. A presenter and a cameraman travel to the mountains to film a documentary piece, convinced that fiction is the best way to get in contact with the world.

Downtrodden after some missteps in life, Daniel returns home. Work is non-existent, his ex-wife expects financial help he can't give her, and things are looking bleak. Yet as he prepares to become Godfather to his sister's son, who's soon to be baptised, he rediscovers a purpose - for a few days, at least.

Two brothers await with their dying mother the precise moment that the rain gives them a break. The harvest has had its time to ripen and has begun to weaken. They would make a decision: stay there to take care of her or go out to do the job before the water destroys the crop.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

A man, who shifts his gaze from cultural existence to a more intimate and decidedly more dangerous place. This places him in an uncomfortable place in the eyes of others and in himself.

In the Argentinian countryside, a child's special gift gives her opportunistic guardians the idea of offering consultations with her as an animal medium in order to earn a living.

A few years ago a man appeared who claimed to speak an apparently lost language: Chaná. Soon dictionaries were published and the language could be completely recovered. This man also located the Chanás in the same place where the Volga Germans live today, in the province of Entre Ríos. Inspired by the book of poems of the same name, Big Shadow is the story of a group of friends who live in German villages while they prepare a film about the new language.