Moguillansky’s follow-up to The Gold Beetle is a fantasia that elegantly weaves together disparate elements: Hans Christian Andersen’s tale of the little match girl, Bresson’s saintly abused donkey Balthazar, a Red Army Faction member’s correspondence with an Argentine pianist, and a composer trying to mount an opera at the Teatro Colón. Winner of Best Argentine Film at last year’s BAFICI, The Little Match Girl is infused with emotion, and never devolves into the obscure or didactic, despite its many literary and cinematic references. Featuring exquisite cinematography from Inés Duacastella, this spectacular work must not be missed.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…

An adaptation of “Sea Foam”, a chapter from Cesare Pavese’s “Dialoghi con Leucò” published in 1947. The ancient Greek poet Sappho and the nymph Britomartis meet beside the sea and have a conversation about love and death. Sappho is said to have thrown herself into the ocean from lovesickness. Britomartis apparently tumbled off a cliff and into the water while fleeing from a man. Together, the two discuss the stories and images that have emerged around them to try and understand, at least for a moment, the bittersweet nature of desire.

Dos ritmos diferentes en un mismo cuerpo. El primero el de una actriz y el segundo el de su personaje: Luisa y Rosalinda comparten el mismo cuerpo pero no el mismo ritmo. Una tarde en el Delta del Tigre, en las afueras de Buenos Aires, un grupo de actores se encuentran a ensayar la comedia Como les guste, de William Shakespeare. Durante dicha jornada, el amor hace estragos y los roles entre actriz y personaje se confunden entre el goce por el artificio y la angustia de lo incierto. (FILMAFFINITY)