El Pampero Cine

Martin moves around Buenos Aires at night, picking up guys, going to clubs, scoring drugs and having sex. Sometimes he’s paying and sometimes his trans sex-worker friend or another woman takes him along for a threesome.

Roque starts University in Buenos Aires but he is not particularly interested in attending classes or working towards a degree. Instead, he dedicates his time to one of the many groups vying for control of the university, motivated less by grand political ideals than by a wish to get close to Paula, an attractive young teacher heavily involved in internal university politics.

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.

X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.

“This is a film about the end of a friendship. It wasn’t meant to be. Fifteen years ago, they painted my portrait.” (Mariano Llinás)

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…

A group of girls and boys in their twenties settle in a country house that seems completely isolated from civilization, invited by Helena, who plans something humiliating for one of the guests.

A comedy during confinement? Probably so. A portrait of a little girl and her family during confinement? Apparently so. An absurd, Beckettian musical shot during confinement? Exactly, yes.

The second installment of the adventures of the Corsini Commando takes us this time to the Pampas plain, where Corsini grew up and forged a vision of the world that would accompany him throughout his life. The result of this excursion is an erratic wandering through the landscapes of the Homeland, its paradoxes and its ghosts: A land dreamed of by a newly arrived foreigner who imagined for himself a gaucho destiny that would never become completely real. Now then: is that not, in the end, the destiny of all things?

An album of odd and humorous stories on small places exclusively dedicated to idleness, which are empty in winter and crowded in summer: the spa towns. Cities under water, luxury hotels, mermaids, sea animals, sand castles, people who worship water, praying for health.

The sad story of Andersen's little match girl; the fate of Balthazar, Bresson's donkey; the impossible love affair between a militant of the Red Army Faction and an Argentinean pianist; the adventures in Buenos Aires of Helmut Lachenmann, who is trying to stage an insane opera; the problems of Marie, Walter and their daughter, who are trying to survive on very little money…

Feminism, Victoria Benedictsson, Leandro N. Alem, the Radical Party in Argentina, suicide, stunts, Edgar Allan Poe, the complicated relationship between low-budget films with a political aim and the film industry, Robert Louis Stevenson, fiction, facts, greed, gold treasures left by the Jesuits in Argentina, the 19th Century vs. the contemporary and the search for truth and wisdom are the background for this portrait of a clash between a Swedish artist and an Argentine film director.

The protagonist of Dog Lady is a woman (Llinás) who lives on the outskirts of Buenos Aires with a pack of dogs, in a house like so many other humble shacks in the urban sprawl of the city.

The documentary registers with detail this first visit to Argentina. It's a meditation on the artistic and conceptual processes that Ai Weiwei needs to think of his art. The images dialogue between the director and his instagram, revealing an intimate side, close to the people.

A miserable Argentine troupe of actors, dancers, musicians, filmmakers and a girl embark on a theatre tour to some country, probably in Latin America.

In July 2002, an American Producer comissions director Mariano Donoso a documentary on the state of Education in San Juan, the province where he was born. On the first day of filming, a teachers’ strike begins, paralyzing classes in the whole province, and – indirectly – the film itself. Donoso consequently embarks on an odyssey (which is sometimes funny and sometimes sad), through the past and present of his homeland. Stikes, claims, Sarmiento, the earthquake, the province’s bureocracy and its relationship with Buenos Aires, and finally, the desert, await for Donoso in his venturesome journey.

Waiting alone for her boyfriend at a hotel, a woman starts paying attention to the mysterious behavior of some guests.

This is a film with music. Or about the music and texts that accompany, in a poetic way, a decisive battle between Unitarian and Federalists. The vicissitudes of the birth of a nation based on the play written by Mariano Llinás and Gabriel Chwojnik, whose images achieve some hypnotic strength.

On 9 July – Argentina’s Independence Day – Llinás sets off in Buenos Aires with his regular cameraman Agustín Mendilaharzu to re-record ‘Corsini interpreta a Blomberg y Maciel’, an album made in 1929 by lyricist Hector Pedro Blomberg and composer Enrique Maciel, as an ode to Juan Manuel de Rosas, leader of the Argentine Confederation.

Situation 1: Mondongo, a duo of Argentinian artists, create a work inspired by The Art of colors, a treatise by Johannes Itten. Situation 2: A filmmaker begins a portrait of them.