La Unión de los Ríos

In the 1980s, a team of lawyers takes on the heads of Argentina's bloody military dictatorship in a battle against odds and a race against time.

At a summit for Latin American presidents in Chile where the region's geopolitical strategies and alliances are in discussion, Argentine president Hernán Blanco endures political and family drama that will force him to face his own demons.

Blondi and Mirko live together, listen to the same music, watch the same films, like to smoke pot and share the same friends. But, even though they seem to be the same age, Blondi is Mirko's mother.

"Drinking, dancing and... killing me. It's the new life my neighbour Jose has decided to live. What better way to escape boredom than coming to kill me every thursday? His wife, Lucie, prefers to go to a shrink. To each their own therapy.

Nothing went as planned: what seemed to be an original idea (taking an international fashion event to a small town in the Argentine Pampas) ended up as a mysterious affair, with a mannequin who seems to have vanished, and who insists on leaving small clues scattered across the immense plains. But nothing seems to be too strange for Commissioner Sirota and her particular method which, this time, includes a clairvoyant, a legendary detective arriving from Santa Rosa and some picturesque “peritas” who choose to work at night, swinging to the rhythm of Ska. In the middle, a disturbing question: Is it a police case they are dealing with, or is someone taking them (the police, the whole town, the Italians – all of us, perhaps) for a fool?

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.

In 1969 Argentine filmmaker Hugo Santiago directed Invasión, his opera prima, written by Jorge Luis Borges and Adolfo Bioy Casares, and later settled in France. This film documents his return to Buenos Aires in 2013 to shoot his latest film, Le ciel du centaure.


A rural police officer investigates the bizarre case of a headless woman's body. The prime suspect blames the crime on the appearance of a legendary monster.

Dealing with a series of increasingly absurd situations and relationships, recently separated yoga instructors Gustavo and Vanesa are finding it difficult to live apart. Their challenges include meddling mothers, amnesiac students, and burgeoning romances. Step by step, they find their way back to the practice.

Michelsen, an older trucker who is lonely and sick, while traveling through Patagonia meets someone on the highway who reminds him of his daughter, whom he has not seen in years.

Three "astronauts" wander through the snowy, silent and imposing mountains. Within this short film, the landscape becomes material for experimentation: with its textures, its colors and the images' tempos. In just forty minutes, the director of Murder Me, Monster constructs a fascinating existentialist piece that transforms the screen into a canvas; and the earth into a sort of frozen planet.

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 french engineer travels in a ship that stops in Buenos Aires, where he must deliver a packet to a mysterious man that is to hard to catch. He then must pursuit him in a labyrinthic city.

Pedro receives a desperate message from an ex-girlfriend asking him to look after her senile mother, Alicia. What seems like a simple mission soon becomes his worst nightmare. Pedro needs to escape; but Alicia won’t let him...

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

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.

Despite his long-term relationship, Ernesto also has a fleeting romance with a blonde. Only when he is in danger of losing Paula, through his constant flirting with other women, does he see the consequences of his immature behaviour. In a calm tempo, with meticulous camerawork, the film subtly evokes a mood of nostalgia for a carefree adolescence from which Ernesto and his friends have difficulty taking their leave.