A boy begins to write love letters on request, a teenager who no longer wants to be and his mother a reluctant woman. Entangled in the same story.

Julian, a teenager, falls madly in love with Laura whom he meets only through what a friend tells.

In this lively Spanish-Argentine comic fantasy, two luckless actors get angry and with the help of a high school drama class jolt a sleepy, rural Argentina town into taking much-needed political action.

They have been lucky, the camp site is located in a forest with an imposing landscape. The birds are singing gently and, luckily, there aren't many tourists. Nevertheless, Carmen and her husband Rafa aren't able to enjoy their holidays.

Four women in Argentina, seeking their place in the world, bond over their fears, hopes, and faith. They discover more than trust and friendship—the simple joy of life. Martha expresses her happiness, but soon they face deep emotional challenges.

Lara must take the train every day to go to work. In that monotony she meets someone special, but it is not what she imagined.

Las calles could be regarded as a film about words, about describing and naming, about secrets and confessions, and about language as the matter of memory. In a dialogue between generations, young people are responsible for elaborating the question, and School is the place that tries to come up with a technique for it. In turn, the elderly answer through their stories, which are basically the story of the town. And like the word –which is always a fiction– builds a reality, the film sustains its tone on that intermediate area in which a fictional setting provides the conditions for the pure documentary genre to mark the pace and reach out to people.

A film about moments of affection and maternal protection, blurred family ties and labour injustices.

Ruth has been with Nora for fourteen years. Everybody knows about their relationship except for her mother Estela, who has never suspected it. Ruth, who is almost forty, feels the need to confess her homosexuality to her mother, who at first is shocked and collapses on the floor. She then feels the desire to understand her daughter, who has hidden an important part of her life from her for many years. So elderly Estela begins to discover the L-World: she reads books and magazines, she tries to meet her daughter's ex girlfriends and she goes to lesbian nightclubs and meeting-places, creating misunderstandings and comic situations. What does Ruth think about this? At first, she is annoyed by her mother's intrusion into her life, but she will soon understand Estela's reasons and she will rely on her to get over her crisis with Nora. This sharp, amusing comedy deals with the difficult parent-child relationship, which is portrayed through irony and without hypocrisy.

In this fun, filled romp, Mecha and Ophelia, a couple, are going through a crisis caused by a third woman. Mecha decides to get over it and swears to Ophelia that she'll stop seeing her lover. After a few months, she realizes she can't do it. Ophelia can't leave Mecha either, and decides to find a lover herself. Events take the most unexpected of turns for Mecha, who realizes her angst persists, and starts to suspect it has nothing to do with love...or does it?