La omisión

Death and the solitary pleasure of masturbation. Luis takes on an inner search looking for something that releases him from his anguish.

Delfina returns from New York to a small riverside town in the province of Buenos Aires. There she visits a tomb of an older woman and one of a younger woman, named Julia, who is identical to her.

Paulina is a young lawyer with a promising career in Buenos Aires, who chooses to go back to her home town. Her father, Fernando, is a well known judge. Against his will, Paulina decides to teach in a suburban high school as part of an inclusion program. One night, after the second week working there, she's brutally assaulted by a gang. With the disapproval of the people around her, she decides to go back to work, in the neighborhood where she was attacked, without realizing that her attackers may be even closer than she thought.

Five juvenile delinquents break out of jail and attempt to make their way to a house in the Mendoza foothills of Argentina.

When her parents are forced to rent out the apartment where she lives, Dafne lies about adopting an injured dog to avoid moving. Keeping up the lie will force her to take her first step into adulthood.

Lucía and Gonzalo have been dating for three years. They are about to go to a luxurious dinner at the agency where he works. An apparently trivial discussion ends up being deeper than expected, to the point of defining the future of the relationship.

Along one day, powerful Argentine Federal Judge Alberto Franccioni receives at his house different people from his inner circle asking for advice and council, typing their lives and grouping in power.

Mariel wants to play Isabella in Shakespeare’s “Measure for Measure”. With the support of Luciana, who is also an actress, she has already rehearsed the part. But during the audition, Mariel realises that Luciana is trying out for the same role.

The principal at a local high school has developed a reputation among the students and teachers for his unorthodox methods. When he comes down hard on the rebellious Cata for suspected drug use, he discovers there is more to her story. He sets out to help her, a decision with precipitous consequences.

Lola, a young playwright and drama director, goes into a crisis before her new play is released. Her leading actress raises time and again that she has problems with the text. A friend of her, a visual artist, moves to her home after discovering an affair and her ex-boyfriend claims copyright. Lola doubts about her own play and struggles between moving forward in the chaos or give it up. She needs to find the true meaning of what she is doing to justify herself.

Deep in the forest a group of five friends wander around like a lion herd. Lost in their word games, they play and seduce each other while going back and forth into adulthood territory, in a desperate search to avoid their already written story.

In 1952, Argentina's beloved First Lady, Eva Perón, died of cancer at the age of thirty-three. A renowned embalmer was commissioned by the grieving Juan Perón to preserve her body for display, and Argentines flocked to be near "Evita". Three years later, when his government was overthrown by a military coup, Perón fled the country before he could make arrangements for the transportation of his wife's body. The military junta now in control kidnapped the corpse; so afraid were they of Eva's symbolic power that they even made it illegal to utter her name.

Jazmín, a young woman living in Mexico City, is nonplussed when she receives a call informing her that her father Toussaint, an illegal Haitian immigrant, is ill. She hasn't seen him in years, and does not know why they are calling her. When she finally gets to the hospital and discovers that her father is suffering from vascular dementia, she finds herself faced with the task of caring for a man who is more a stranger than a father to her.

Marcela’s world becomes strange and unfamiliar after her sister Rina dies. She feels lost in her own house, and her relationship with her husband and children seems to suffer. But when Nacho, a young friend of her daughter’s, unexpectedly drops by, she starts to talk and walk with him. Gradually Marcela begins to have conversations with relatives from another dimension.

Misael works alone with his axe, cutting down trees in the woods. An unexpected responsibility upends his life, and the logic of his days fades away in a nature where human reason holds no meaning.

Camila, a young Argentine theater director, travels from Buenos Aires to New York to attend an artistic residency to develop a Spanish translation of Shakespeare's "A Midsummer Night's Dream." Upon her arrival, she begins to receive a series of mysterious postcards which set her down a winding path through her past and towards her future.

An unlikely relationship forms between two young patients in a hospital.

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.

Carla arrives after years of absence to accompany Martina. Relations between them are cold; there's something unspoken between them. Martina slips away for secret meetings with Diego, a man twice her age. The two are involved in a hardcore sex game that's out of control. When Carla discovers the relationship she confronts Diego.

Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.

3 friends merge their paths on a cloudy day in Berlin. As they walk along the sunset each one will turn a page on their life. Some will be left behind, others will fly away but only one will stay keeping Berlin still possible for all. —Juan Carlos Lo Sasso

Luisa works temporarily babysitting children in a factory. For an inopportune occasion, they are left with their boyfriend in charge of a boy who accidentally suffers from drug poisoning. Luisa and her boyfriend will be involved.

Ana and Álvaro have been trying to become parents for years and that circumstance has broken the relationship and worn down the bond. Ana then begins to travel on the edge of anguish and Álvaro decides to use a resource that he had not imagined before: traveling to the North of Argentina and adopting a child, beyond the law.

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.

A peaceful Christmas Eve is interrupted when a thief breaks into a villa. When the family’s little daughter mistakes him for Santa Claus and asks him to fulfill her Christmas wish, he will be forced to perform a miracle that will redeem secrets from the past.

Over the course of her stay at the remote residence, Ana becomes more and more familiar with Holden’s idiosyncratic methods that require the participating artists to abandon their own identities and live emotionally and psychologically as their characters. Captivated by her artistic investigation, Ana immerses herself wholly into the method and starts living as Violeta, until her fiction loses control.

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 comedy about the relationship between a modern, shy, young man and the spirit of a violent knife-killer murdered in 1920. They make a pledge: the latter will tell the former what exists beyond death if he allows him to inhabit his body for a whole day. Thus, the ghost will go around an unrecognizable twenty first century Buenos Aires to uncover the causes of his own death.

James Benning watches tv with a young girl.