Garbiñe Ortega, artistic director of Punto de Vista, devised the creation of a collective audiovisual project with the collaboration of the filmmaker Matías Piñeiro in which several filmmakers will make a filmed letter addressed to another filmmaker in the history of cinema that they did not know personally and that he was as far away as possible from his own cinema. Thus was born Las cartas que no fueron también son

Garbiñe Ortega, artistic director of Punto de Vista, devised the creation of a collective audiovisual project with the collaboration of the filmmaker Matías Piñeiro in which several filmmakers will make a filmed letter addressed to another filmmaker in the history of cinema that they did not know personally and that he was as far away as possible from his own cinema. Thus was born Las cartas que no fueron también son

Four characters are looking for a man called Castro, but we don't know why. For some mysterious reason, Castro is running. He has left his life behind, and survives by hiding in a room in a small city. He is basically alone, but someone has appeared in his life, Celia. She is young, beautiful, and sometimes cruel.

Four characters are looking for a man called Castro, but we don't know why. For some mysterious reason, Castro is running. He has left his life behind, and survives by hiding in a room in a small city. He is basically alone, but someone has appeared in his life, Celia. She is young, beautiful, and sometimes cruel.

Several actresses get caught up in a web of romantic intrigue while performing in a production of Shakespeare's "Twelfth Night."

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.

Loro, a sound recordist, meets Luciana, a dancer, and falls in love whit her. When she quits their ballet production and leaves, Loro looks for her in San Francisco, Argentina.

Vicente has a hobby of breaking Guinness records. Years after making a record-length pancho, he organized an art and gastronomy residency to seek his second challenge: The largest empanada in the world.