Nicolás Mateo

The night. One night. Perhaps any night anywhere. It rains. A woman. No. A man. A man and a woman. No. A man, a woman and someone else. The table. A table. A table immersed in alcohol, singing, playing music. The music. No, jazz. JAZZ! The seduction, the crossing. Acting, pretend. Laught. The kisses. No. Decline. One night, a woman a man and someone else, on a table. No. The Void.

Three intertwining stories that take place in La Salada — the largest unregulated market in Buenos Aires: a Korean father prepares his daughter for an arranged marriage, a young Bolivian man searches for work, and a Taiwanese DVD seller tries to woo a young woman to be his girlfriend.

The film does not describe, rather it observes, in a distant manner, the world of Martin, a seventeen year old who feels he doesn’t belong anywhere, not at home, school, nor with his friends or members of his rock band. In search of some happiness, Martin takes off to the coastal town of Mar de Plata, where his older brother lives. Unglamorous, yet enchantingly addictive and refreshingly genuine, Acuña paints a confused and uncomfortable world, and makes us want revisit it over and over again.

Brisa’s daily life alternates between the world of show business, appearances, and the stark reality presented by his son Hilario, who fell into poverty as a result of his addiction to drugs. The film portrays an intense fragment of Susana and Hilario’s story, the difficulties that arise when she tries to keep her professional commitments, the elegance with which she manages to avoid the low blows and her pain; but, fundamentally, the film reveals how this woman faces a difficult process without losing her dignity or sense of humor.

Many stories happen simultaneously through Internet. In the real world, people are lonely, isolated, desperate for finding love, friendship and tenderness. They project themselves as superheroes, with infinity of friends and hypersex. They live asphyxiated in front of their machines, unable to live with the people that surround them, exasperated for finding a pinch of love in the fantasy of the net. Outside the virtual world, they do not exist.

A young man has to go back to his childhood home and a neighborhood that is now unknown to him; a child suffers his father's paranoia and violence; two siblings fight to hold on to the only things they have left. Three stories intersect in what seems to be an endless blackout that will bring out their darkest sides.

Buenos Aires at the outskirts of XIX century. A society rigid in patriarchal rules. A war between brothers of Argentina, Brazil, Uruguay and Paraguay. Two young and very much in love youngsters, fight for their right to be together. Obeyance and fear sets them apart along more than ten years. When they are finally reunited, will they be able to overcome the pain and tragedy that haunts them?

Martín Sala (Nicolás Mateo), now returns to work in a radio together with his cousin, Diego (Luciano Leyrado), and Lando Carrizo (Diego Gentile), a radio producer. The station is in need of a change and Lando comes up with a contest that has as a prize a transmission of the program from where he designates the winner.

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.

Guided by a fortune teller's revelation, Russian Countess Ivana Malova arrives in Argentina intending to raise beautiful Angora goats, animals not native to the area, on a small piece of land called "Campo Cerezo" (Cherry Field). There live Doña Juana Cerezo and her granddaughter Nucha, who has just been released from prison on parole for her involvement in a bank safe deposit box robbery. As the Countess weaves her web and advances her plan to take over Campo Cerezo, Nucha discovers that the jewels the police were never able to recover are buried there.

Thirty four year old Goyo, a former open water swimming champion, has been hiding out in the desert. Wrongly accused of doping in the Santa Fe-Coronda Marathon, a 57 kilometer river swim, he has abandoned his career and his dreams. Eight years later, Goyo returns to Santa Fe where the marathon will be held again to try to re-gain his title and clear his name. However, long buried emotions come back to haunt him. He meets Chino, a stubborn and disciplined pool swimmer, who tries hard to be selected for the national team, but fails. Identifying with Chino, Goyo asks him to be his guide on the boat that follows him during the marathon.

Verano del '98 is an Argentine telenovela, produced by Cris Morena. It was broadcast on Telefe television in the period January 12, 1998-November 17, 2000. The telenovela had three seasons, and changed its cast many times. Cris Morena also composed songs for Verano del '98 soundtrack.

A small team of con artists for hire use their skills to solve common people's life problems.

The life and stories of Guillermo Coppola, famous "bon vivant" and Diego Armando Maradona's agent.

A series inspired by real events that tells the story of "Operation Condor" which tells one of the first claims on Argentine sovereignty over the Malvinas Islands. The operation carried out by some young Argentines who diverted an Aerolíneas Argentinas plane bound for Río Gallegos and made it land in the Malvinas Islands.