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Dormant Argentina

As the third installment in an ongoing series of muckraking documentaries by Argentine filmmaker Fernando Solanas that investigate various sociological aspects of South America's second-largest nation (following 2004's Memoria del saqueo and 2005's La Dignidad de los nadies), Latent Argentina springboards from a truth little-known to most of the titular country's residents: Argentina owns more wealth and more innate natural resources than almost any nation on its continent. The possessor of a bountiful shoreline, endless acres of tillable farmland, the fourth largest metal reserves on the planet and a remarkable space program (the fourth in the world to send a human being into space), Argentina nevertheless remains a prisoner of backward and disadvantageous economical, political and social systems.

Dormant Argentina

6.6 2007
Year of Grace

In the district of Gracia, in Barcelona, ​​a nasty old woman shares a flat with a young man, non-conformist. The guy is struggling to find his place in the world. Neither of them let themselves being intimidated, though she holds the power and the young only illusions. The old woman has given up her dreams and the young man is discovering them. A perpetual fight without truce, although both need themselves. Humor, tenderness, agility, great neighbors, a neighborhood of young people, a beautiful girl and a powerful sound track. The positive side of life.

Year of Grace

5.7 2011
Giants Don't Exist

Guatemala, in the 80s. The worst days of the Civil war. Andrés is 9 years old. He lives with Pedro González, one of the men who massacred all the women and children in his village. Andrés has survived, but he's scared. Pedro's wife, María, is also scared, scared to go out, scared to lose Andrés, whom she considers as "her new son" - even Pedro is scared, scared of himself and what the Army bounds him to do. Andrés would like to run away but he also wants to stay in his new family - until his sister appears.

Giants Don't Exist

7.6 2017
PR1NC3S4

In his new cinematic adventure, Raúl Perrone makes a new incursion into the Japanese out of Ituzaingó in order to shape the variations of a story that revolves around a woman who cuts dead people’s hair, a samurai with an intolerable mission, a nosy burglar, a feudal lord on the verge of insanity and a giant metal fish. The film is freely inspired in the original version of Rashomon –written by Ryūnosuke Akutagawa– and, as usual in his filmography since P3ND3JO5 (2013), Perrone blends different elements from classical film; in this case, visible ghosts from Kurosawa’s cinema and certain aspects of Japan’s traditional culture melt with nightmarish distortions and machinistical irruptions, typical of a future that may never come. “The avant-garde is in the past” he once said in an interview. In his reimagining of film history, Perrone again finds an inexhaustible field of expression.

PR1NC3S4

4.0 2021
Igelak (Frogs)

Pello, a bank branch manager, is arrested on charges of embezzlement. Abandoned by his superior (who got him involved in the heist), Pello escapes from the court room and goes on the run. With no papers, no money and no family or friends he can trust, he changes identity so that he can stay undercover for a time. By chance he ends up hiding in a building that has been occupied by a group of people evicted from their homes who are fighting his bank. Pello gains their trust, all the time planning to steal money from them to pay for false documentation so that he can escape abroad and start a new life.

Igelak (Frogs)

4.7 2016