Subterránea Films

The failed story of a love triangle in a post-apocalyptic world.

Panash is a fictional film set in a dystopian near future. Buenos Aires is in flames, convulsed by a state of siege that seems to have no end. But in the margins of the city, there is room for a love story.

"Diablo Viejo" was going to be a family road trip movie, but the production stops when the co-directors' 9 year relationship comes to an end. After the separation both put together their own version of the story with the pieces of a broken relationship and a frustrated documentary.

Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.

Graziele was born on a small island located in the south of Rio de Janeiro. As her mother died when she was just one year old and her father was always an absent figure, she was raised by her older sister and her grandparents, next to an evangelical church where her grandfather has been a pastor for two decades. In that small-town, conservative environment, Graziele had to come to terms with her homosexuality, first to herself and then to others. She decided to migrate to Argentina, even though she left a love in Brazil, and started living in Buenos Aires, together with her older sister on her father's side, and her brother-in-law Diego, who will be the narrator of her new life with his camera.

Devised as a critique of Argentina's national crisis in 2002. A young cyclist is run over and badly injured by a couple of gangsters. Neither the private nor the state-run emergency services manage to save her.

Ludmila Vieytes is in a cockfight in Cuba. With her baby in her arms and in a wheelchair, she comes to a passive acceptance of the torture, of the human and divine violence that shapes her beliefs.