Andrea Garrote

Öfkenin iliklere işlediği, dengenin her daim hassas olduğu bir toplumda, aşkların, nefretin ve intikam duygusunun hüküm sürdüğü birbirinden bağımsız bireylerin öykülerini taşıyor perdeye Asabiyim Ben. Satın alınan şereflerin gölgesinde, insanların kanunlar karşısında çaresiz ve öfkeli olduğu bir dünyaya ait altı farklı hayat hikayesi dikiyor karşımıza. Yolsuzluğun ve yozlaşmışlığın hüküm sürdüğü bir ülkede, kana bulanan muhteşem düğünler, ölüme yürüyen danslar, telleri iyiden iyiye gevşeyen sinirler ve bu yoldan çıkmışlığı tasvir eden "eğlenceli" öyküler.

La Casa de Papel’in ödüllü oyuncusu Rodrigo de la Serna’nın başrolü üstlendiği Kaçırma, 1980’lerde, acımasız diktanın çöküşünün ardından, Buenos Aires’te geçen sert bir politik gerilim-aksiyon. Julio Levy, sanayici aile imparatorluğunun başına geçmek üzere siyasi nedenlerle çıktığı sürgünden ülkesine döner. Ne var ki, kısa bir süre sonra ağabeyi kaçırılır, Julio istemeden kendini başmüzakereci olarak bulur. Medyanın tüm ilgisiyle başa çıkmaya çalışırken bir yandan da ailenin yükünü tek başına omuzlayan Julio, Arjantin’in her yanı zedeli demokrasisinin ardındaki asıl güç odaklarının ortaya çıkmasına neden olacaktır. Hassas aile bağları üzerinden bir ülkenin yitip giden hafızasına odaklanan Kaçırma, dünya prömiyerini Venedik Film Festivali’nin Orizzonti bölümünde yaptı.

Laura'nın gizemli bir şekilde ortadan kaybolmasının ardından, iki meslektaşı (eski sevgilisi Rafael ve Ezequiel), onu bulmalarına yardımcı olabilecek bazı keşifler yaparlar. Ancak hikaye, hayal edebileceklerinden çok daha büyük ve tuhaftır.

Birbirinden habersiz iki kız kardeş, babalarının ani ölümünün ardından onun bir duvarın arkasına zulaladığı milyonları bulunca bağ kurmaya başlar.

Esteban and Molly have been married for over twenty years. On a cold morning in June the couple realizes they have hit rock bottom and that their relationship is not what it once was. Marriage examines the different aspects that make a man and a woman click, those moments where a bond can become harder than a rock, but it will also illustrate the downfalls and all the little things that make a relationship worth fighting for.

This incredibly disturbing story follows the exploitation of an apprentice butcher, Hermógenes, and his trial after he murders his boss in broad daylight. Hermógenes, a farmhand from northern Argentina, relocates to Buenos Aires in search of a better life for himself and his young wife, but soon finds himself at the mercy of a corrupt boss. The film is based on a thorough investigation of a real event that happened in Buenos Aires 10 years ago. Almost every scene in the film is inspired by real facts or based on well documented daily practices of the “meat business” and its environment. Both a shocking exposé of unscrupulous practices in the meat industry and a heart-wrenching personal story, El Patrón became one of the most successful Argentine films of 2014.

Life is a long way to adapt to fear. Monica, 33, recently separated, waits for the result of a medical examination, but has no courage to break the news to her self-centered relatives.

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.

Out of work, Diego has only one goal: to return to live in the Capital no matter the cost. After leaving his family in Delta del Tigre, he becomes an obsessive salesman inside a building's showroom: a perfect model that will lead him to experience absurd situations on the verge of madness.

A couple must hold on to $100,000 for 24 hours as they wait to buy a house. As the time ticks by, the true nature of their love unravels.

Since she has memory a young girl accompanies her mother to look at houses, meddle in the gardens, modify them. This time, the mother decides to cross the line and enters a house. She will have to decide what to do.

Mónica did not make a client's payments of the office where she works. The missing 15K pesos not only commit her but also a colleague, who is the one who discovers the fault. It seems that is not the first time that this happens, but the colleague, despite his anger, kept silence and chose to believe her again: Mónica commits to replenish the sum of money the next morning.

Without a doubt, Angélica is having a crisis. Her mother died recently, she has to empty out her childhood home because it is going to be demolished, she doesn’t seem to have gotten over her split with her ex, and she is about to turn 40. Without any idea about how to deal with any of these things, she escapes to the past: she secretly hides in her childhood home and, while the walls fall around her, reality becomes hazy. Hidden in her house, that is both a shelter and a trap, bit by bit Angélica loses herself, fusing with her mother. Delfina Castagnino creates an elliptical and sinister tale, sowed with disturbing sounds and shadows, a film in which a framing, a musical note or a camera movement can transform peeling wallpaper into a threat, or the projection of a slide image into a ghost. And so what could be a family drama becomes a psychological thriller: Angélica turns mourning into a tale of horror.

A young man from rural Argentina arrives in Buenos Aires to present his graphic novel at a book fair. He gets into a taxi and discovers that he is sitting in a car bomb: the vehicle is packed with explosives. Driver and passenger are now prisoners of one another...

Marlene lives in the house of the old woman she takes care of. When her friend disappears, she escapes every night to investigate. The clues lead her to night jobs in which she meets other women who, like her, have developed their gifts into superpowers.

Between Hours focuses on the work of a young psychologist (Agustín Rittano) in charge of a psychopedagogical practice, from which he becomes involved with the diverse experiences of the students, teachers, and parents who come to him. Committed to his profession, the psychologist has a sometimes conflictive relationship with the school's director, Andrea Garrote .

In each episode, which takes place independently of each other, commissioners Jiménez (Luis Luque) and Laurenzi (Darío Grandinetti) must solve different police cases that will be presented to them and will be a challenge for them, for which they will receive the help of the editor literary Daniel Hernández (Nicolás Cabré) who is looking to write a book about crimes.