Weekend Tale

Three situations of vaguely theatrical origin, stripped of all outer clothing, reveal the track of a different cinema. whose realism seeps into the cracks of his apparently self-contained, closed world.

It is the year 1998 in Buenos Aires. Chino just turned 21 years old. He is an introverted young man who lives in a small apartment maintained by his parents. He left his Architecture career a few months ago and since then he has spent his time watching films of any kind in different cinema clubs. He lives with Franco, a young man a few years older than him who works on a supposed science fiction film with which he plans to win a contest. He spends his days filming inside the apartment with his camcorder while acting out scenes from the supposed script in a somewhat ridiculous way.

The plot is set in 1966 when an Argentine scientist carries out a space plan to compete with the United States and the Soviet Union in the arrival to the Moon.

When Felipe’s ex-girlfriend breaks his heart, it feels like it’s the end of the world – and he’s not wrong. A strange zombie plague is unleashed on the paradise beach his friends have taken him to get his head in the right place. This is how the hectic pursuit for survival begins, where telling apart the living from the dead becomes the hardest part. Felipe will do whatever it takes to save his life, his friends’ lives and Ana’s life, a beautiful and problematic girl. Who would’ve guessed a zombie apocalypse would be the beginning of a new life and new love?

A young Argentinian woman who works as a museum guide uses her passion - reading - as a means of expression to channel the emotional and working lives of those around her.

Martín goes jogging, but an unknown woman trips him up. The unknown woman’s husband doesn’t understand his wife’s behavior. Marín has a date but gets hurt. The woman who tripped him has a dream in which her poodle is butchered. No one understands what goes on in the mind of the other.

Buenos Aires, 2019. Lucrecia, who jobs as a museum security guard, foresees a sharp rise in the dollar’s value with her pendulum and falls in love with a currency exchange house employee.

When 32-year-old Jazmín is left by the boyfriend she was about to move in with, she takes some time away; through shifting connections and unexpected encounters, she discovers a new way of seeing herself and gains new experiences.

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

A girl takes a walk around the backstage of the theater his father works in.

Three rooms, three different moments of a relationship.

A small film crew meets a serial killer.