A list of Argentine films released in 2019.
Opening | Title | Distributor | Director | Country | Ref. | |
---|---|---|---|---|---|---|
J A N U A R Y | 3 | Plaza Paris | Primer Plano Film Group | Lucía Murat | BR, PT, AR | [1] [2] |
10 | 50 Chuseok | Los Griegos Producción SRL | Tamae Garateguy | AR | [3] | |
My Days in the Traveling Circus | Rodeo Distribución | Juan Ariel Soto Paz | AR, BO | [4] | ||
A oscuras | Primer Plano Film Group | Victoria Chaya Miranda | AR | [5] | ||
17 | Anibal, justo una muerte | Independent | Meko Pura | AR | [6] | |
Florianópolis Dream | Cine Tren | Ana Katz | AR, BR | [7] | ||
24 | Mujer nómade | Independent | Martin Farina | AR | [8] | |
The Jerusalem of Argentina | Independent | Melina Serber | AR | [9] [10] | ||
Un continente incendiándose | Independent | Miguel Zaballos | AR | [11] [12] | ||
31 | Alberto Greco. Obra fuera de catálogo | Independent | Paula Pellejero | AR | [13] [14] | |
Anoche | Primer Plano Film Group | Paula Manzone and Nicanor Loreti | AR | [13] [15] | ||
Los últimos románticos | Aura Films | Gabriel Drak | AR | [13] [16] | ||
Un cine en concreto | Independent | Luz Ruciello | AR | [13] [17] | ||
F E B R U A R Y | 7 | Atenas | Independent | César González | AR | [18] [19] |
El día que resistía | Independent | Alessia Chiesa | AR, FR [20] | [18] [21] | ||
El tío | Primer Plano Film Group | María Eugenia Sueiro | AR | [18] [22] | ||
La nostalgia del centauro | Cine Tren | Nicolás Torchinsky | AR | [18] [23] | ||
Ladrillos capitales | Independent | Gustavo Laskier | AR | [18] [24] | ||
14 | Antonio Gil | Independent | Lía Dansker | AR | [25] [26] | |
Hora-Día-Mes | Primer Plano Film Group | Diego Bliffeld | AR | [25] [27] | ||
Tampoco tan grandes | Buena Vista International | Federico Sosa | AR | [25] [28] | ||
21 | Happy Hour | Primer Plano Film Group | Eduardo Albergaria | AR, BR | [29] [30] | |
Leónidas | 16M | Miguel Colombo | AR | [29] [31] | ||
Reina de corazones | Independent | Guillermo Bergandi | AR | [29] [32] | ||
Wanderlust, cuerpos en tránsito | Independent | María Pérez Escalá | AR | [29] [33] | ||
28 | Amanecer en mi tierra | Independent | Ulises de la Orden | AR | [34] [35] | |
Ciclos | Independent | Francisco Pedemonte | AR | [34] [36] | ||
El cuidador | Independent | Rodolfo Pochat | AR | [37] [38] | ||
Entre gatos universalmente pardos | Independent | Ariel Borenstein and Damián Finvar | AR | [34] [39] | ||
Guerrero de norte y sur | Elefante Films | Germán Souza and Mauricio Halek | AR | [34] [40] | ||
La misma sangre | Buena Vista International | Miguel Cohan | AR, CL | [34] [41] | ||
Los árboles | Independent | Mariano Luque | AR | [34] [42] | ||
Memorias de la sangre | Independent | Marcelo Charras | AR | [34] [43] | ||
M A R C H | 7 | Black or White | Independent | Matías Rispau | AR | [44] [45] |
Callcenter | 3C Films | Federico Velasco and Sergio Estilarte | AR | [44] [46] | ||
Fearing Future | Aeroplano | Nacho Sesma | AR | [44] [47] | ||
Femicidio. Un caso, múltiples luchas | Independent | Mara Avila | AR | [44] [48] | ||
Juntas | 996 Films | Nadina Marquisio and Laura Martínez Duque | AR, CO | [44] [49] | ||
Olmedo, el rey de la risa | 3C Films | Mariano Olmedo | AR | [44] [50] | ||
14 | Alicia | Independent | Alejandro Rath | AR | [51] [52] | |
Down para arriba | Kligger Contenidos | Gustavo Garzón | AR | [51] [53] | ||
El hermano de Miguel | Fly Films | Mariano Minestrelli | AR | [51] [54] | ||
Foto estudio Luisita | Yaguareté Cine | Sol Miraglia and Hugo Manso | AR | [51] [55] | ||
Lobos | Primer Plano Film Group | Rodolfo Durán | AR | [51] [56] | ||
Un lugar en el tiempo | Independent | Nicolás Purdia and Pablo José Rey | AR | [51] [57] | ||
21 | Impresiones obreras | Independent | Hugo Colombini | AR | [58] [59] | |
La feliz, continuidades de la violencia | Independent | Valentín Javier Diment | AR | [58] [60] | ||
Yo no me llamo Rubén Blades | Compañía de Cine | Abner Benaim | AR, PA | [58] [61] | ||
Yo, mi mujer y mi mujer muerta | Buena Vista International | Santi Amodeo | AR, ES | [58] [62] | ||
28 | Candomberos de dos orillas | Independent | Ernesto Gut | AR | [63] [64] | |
El kiosko | Primer Plano Film Group | Pablo Gonzalo Pérez | AR | [63] [65] | ||
La guarida del lobo | 3C Films | Alex Tossenberger | AR | [63] [66] | ||
Yvonne | Independent | María Laura Rubino | AR | [63] [67] | ||
Opening | Title | Distributor | Director | Country | Ref. | |
---|---|---|---|---|---|---|
A P R I L | 4 | 4x4 | Buena Vista International | Mariano Cohn | AR, ES | [68] |
Chaco | Cine Tren | Fausta Quattrini and Danielle Incalcaterra | AR | [68] [69] | ||
Eduardo Pavlovsky, resistir cholo | Independent | Miguel Mirra | AR | [68] [70] | ||
8 | End of the Century (Fin de siglo) | Alsina 427 | Lucio Castro | AR | [71] | |
11 | Clementina | Campo Cine | Jimena Monteoliva | AR | [72] [73] | |
Hojas verde de otoño | Primer Plano Film Group | Julio Midu and Fabio Junco | AR | [72] [74] | ||
18 | 1100 | Cine Tren | Diego Castro | AR | [75] [76] | |
25 | Acá y acullá | Maravillacine | Hernán Khourian | AR | [77] [78] | |
Ausencia de mí | Bellasombra | Melisa Teribili | AR | [77] [79] | ||
Estoy acá (Mangui fi) | Jaque Productora | Esteban Kabacznik and Juan Manuel Bramuglia | AR | [77] [80] | ||
La experiencia judía, de Basavilbaso a Nueva Amsterdam | Independent | Miguel Kohan | AR | [77] [81] | ||
Vida | Independent | María Eugenia Lombardi and Carolina Reynoso | AR | [77] [82] | ||
M A Y | 2 | El hijo | Energía Entusiasta | Sebastián Schindel | AR | [83] [84] |
La lupa | Independent | Marina Zeising | AR | [83] [85] | ||
Los miembros de la familia | Cine Tren | Mateo Bendersky | AR | [83] [86] | ||
Los periféricos | Independent | Los Periféricos | AR | [83] | ||
Los tiburones | Compañía de Cine | Lucía Garibaldi | AR, UY | [83] [87] | ||
River, el más grande siempre | Buena Vista International | Luis Alberto Scalella, Marcelo Altmark and Mariano Mucci | AR | [83] [88] | ||
Traslasierra | Primer Plano Film Group | Juan Sasiaín | AR | [83] [89] | ||
9 | Abrakadabra | 996 Films | Luciano and Nicanor Onetti | AR, NZ | [90] [91] | |
Boni Bonita | Compañía de Cine | Daniel Arosa | BR, AR | [90] [92] | ||
El bosque de los perros | Primer Plano Film Group | Gonzalo Zapico | AR | [90] [93] | ||
El sonido de los tulipanes | Aura Films | Alberto Masliah | AR | [90] [94] | ||
Escuela monte | La Granja Cine | Mariano Raffo and Cecilia Cisneros | AR | [90] [95] | ||
Gran Orquesta | Independent | Peri Azar | AR | [90] [96] | ||
Murder Me, Monster | Trapecio Cine | Alejandro Fadel | AR, CL, FR | [90] [97] | ||
16 | Bazán Frías, elogio del crimen | Independent | Juan Mascaró and Lucas García | AR | [98] [99] | |
Cuadros en la oscuridad | Noche Creatividad and Cine Tren | Paula Markovitch | AR | [98] [100] | ||
Dóberman | Cine Tren | Azul Lombardía | AR | [98] [101] | ||
La cuarta dimensión | Independent | Francisco Bouzas | AR | [98] [102] | ||
La lección de anatomía | Bellasombra | Agustín Kazah and Pablo Arévalo | AR | [98] [103] | ||
The Weasel's Tale | BF París | Juan José Campanella | AR, ES | [98] [104] | ||
23 | Badur Hogar | Cine Tren | Rodrigo Moscoso | AR | [105] [106] | |
Infierno grande | Primer Plano Film Group | Alberto Romero | AR | [105] [107] | ||
30 | A mas tardar | Independent | Mariana Guth | AR | [108] [109] | |
Breve historia del planeta verde | 3C Films | Santiago Loza | AR, DE, BR, ES | [108] [110] | ||
Bailar la sangre | Independent | Eloísa Tarruella and Gato Martínez Cantó | AR | [108] [111] | ||
El Ratón Pérez y los guardianes del libro mágico | Buena Vista International | Juan Pablo Buscarini | AR, ES | [108] [112] | ||
J U N E | 6 | Blindado | Cine Tren | Eduardo Meneghelli | AR | [113] [114] |
Cuando dejes de quererme | Primer Plano Film Group | Igor Legarreta | AR, ES | [113] [115] | ||
De nuevo otra vez | Compañía de Cine | Romina Paula | AR | [113] [116] | ||
La visita | Bellasombra | Jorge Leandro Colás | AR | [113] [117] | ||
La escuela contra el margen | Independent | Lisandro González Ursi and Diego Carabelli | AR | [113] [118] | ||
Soy lo que quise ser | Rodeo Distribución | Betina Casanova and Mariana Scarone | AR | [113] [119] | ||
13 | Encuentro | Independent | Martín Paolorossi and Juan Lupiañez | AR | [120] [121] | |
Kollontai, apuntes de resistencia | Independent | Nicolás Méndez Casariego | AR | [120] [122] | ||
Rapto | Primer Plano Film Group | Frank Pérez-Garland | AR, PE | [120] [123] | ||
Un suelo lejano | Independent | Gabriel Muro | AR, PY [124] | [120] [125] | ||
20 | A una legua | Independent | Andrea Krujosky | AR | [126] [127] | |
Astrogauchos | Kligger Contenidos | Matías Szulanski | AR | [126] [128] | ||
El diablo blanco | Primer Plano Film Group | Ignacio Rogers | AR, BR | [126] [129] | ||
Nada culmina en la víspera | Independent | Florencia Orce and Pablo Moro | AR | [126] [130] | ||
27 | El ruido son las casas | Independent | Luciana Foglio and Luján Montes | AR | [131] [132] | |
La última búsqueda | Independent | Pepe Tobal and Eduardo Sánchez | AR | [131] [133] | ||
No soy tu mami | United International Pictures | Marcos Carnevale | AR, BR | [131] [134] | ||
Opening | Title | Distributor | Director | Country | Ref. | |
---|---|---|---|---|---|---|
J U L Y | 4 | Chubut, tierra y libertad | Maravillacine | Carlos Echeverría | AR | [135] [136] |
Delfín | Primer Plano Film Group | Gaspar Scheuer | AR | [135] [137] | ||
Las facultades | Cine Tren | Eloisa Solaas | AR | [135] [138] | ||
Perros del fin del mundo | 3C Films | Juan Dickinson | AR | [135] [139] | ||
Segundo subsuelo | Independent | Oriana Castro and Nicolás Martínez Zemborain | AR | [135] [140] | ||
11 | Bikes | 3C Films | Manuel Javier García | ES, AR, CN | [141] [142] | |
Encandilan luces, viaje psicotrópico con los psíquicos litoraleños | Bellasombra | Alejandro Gallo Bermúdez | AR | [141] [143] | ||
Fragmentos de una amiga desconocida | mitaifilms | Magda Cristina Hernández | AR | [141] [144] | ||
Historias breves 17 | National Institute of Cinema and Audiovisual Arts | Various | AR | [141] | ||
Holy Beasts | Cine Tren | Israel Cárdenas and Laura Amelia Guzmán | DO, AR, MX | [141] [145] | ||
La casa en la playa | Cristar Films | July Massaccesi | AR | [141] [146] | ||
Un rubio | 3C Films | Marco Berger | AR | [141] [147] | ||
18 | Volviendo a casa | Independent | Ricardo Preve | AR | [148] [149] | |
25 | Digo la cordillera. Cuadernos de viaje | Independent | Ciro Néstor Novelli | AR | [150] [151] | |
Nueva mente | Independent | Ulises de la Orden | AR | [150] [152] | ||
A U G U S T | 1 | Esa película que llevo conmigo | Cine Tren | Lucía Ruiz | AR | [153] [154] |
La casa de Wannsee | DocBsAs | Poli Martínez Kaplún | AR | [153] [155] | ||
La huella de Tara | Independent | Georgina Barreiro | AR | [153] [156] | ||
Marta Show | Duermevela | Malena Moffatt and Bruno López | AR | [153] [157] | ||
Rebobinado | Independent | Juan Francisco Otaño | AR | [153] [158] | ||
Vigilia en Agosto | Cine Tren | Luis María Mercado | AR | [153] [159] | ||
8 | Cara sucia con la magia de la naturaleza | Primer Plano Film Group | Gastón Gularte | AR | [160] [161] | |
El día que me muera | 3C Films | Néstor Sánchez Sotelo | AR | [160] [162] | ||
Hombres de piel dura | Compañía de Cine | José Celestino Campusano | AR | [160] [163] | ||
15 | Alejandro del Prado, el eslabón perdido | Primer Plano Film Group | Marcelo Schapces and Mariano del Mazo | AR | [164] [165] | |
El llanto | Independent | Hernán Fernández | AR | [164] [166] | ||
Heroic Losers | Warner Bros. | Sebastián Borensztein | AR, ES | [164] [167] | ||
Pasco, avanzar más allá de la muerte | Independent | Martín Sabio | AR | [164] [168] | ||
22 | Baldío | Cine Tren | Inés de Oliveira Cézar | AR | [169] [170] | |
La afinadora de árboles | Primer Plano Film Group | Natalia Smirnoff | AR, MX | [169] [171] | ||
La sequía | Aura Films | Martín Jáuregui | AR | [169] [172] | ||
Los índalos | Independent | Santiago Nacif Cabrera, Juan Andrés Martínez Cantó and Roberto Persano | AR | [169] [173] | ||
29 | Cuando los hombres quedan solos | Primer Plano Film Group | Fernando Martínez | BO, AR, CO, ES | [174] [175] | |
Margen de error | Primer Plano Film Group | Liliana Paolinelli | AR | [174] [176] | ||
Mekong-Paraná: Los últimos laosianos | Independent | Ignacio Luccisano | AR | [174] [177] | ||
Paso San Ignacio | Independent | Pablo Reyero | AR | [174] [178] | ||
Shalom Taiwan | Digicine | Walter Tejblum | AR | [174] [179] | ||
S E P T E M B E R | 5 | El retiro | Buena Vista International | Ricardo Díaz Iacoponi | AR | [180] [181] |
Los payasos | Independent | Lucas Bucci and Tomás Sposato | AR | [180] | ||
Matar a un muerto | Cine Tren | Hugo Giménez | AR, FR, PY | [180] [182] | ||
Paternal | Bellasombra | Eduardo Yedlin | AR | [180] [183] | ||
Proyecto 55 | Independent | Miguel Angel Colombo | AR | [180] [184] | ||
12 | Bu y Bu: Una aventura interdimensional | Independent | Eduardo Rodríguez Bossut | AR | [185] [186] | |
Claudia | Aura Films | Juan Sebastián De Caro | AR | [185] [187] | ||
La internacional del fin del mundo | Independent | Violeta Bruck and Javier Gabino | AR | [185] [188] | ||
Todo por el ascenso | 3C Films | Jorge Piwowartski | AR | [185] [189] | ||
Witch | BF París | Marcelo Páez Cubells | AR | [185] [190] | ||
19 | El desentierro | Primer Plano Film Group | Nacho Ruipérez | AR, ES | [191] [192] | |
Iniciales S.G. | Digicine | Rania Attieh and Daniel Anthony García | AR | [191] [193] | ||
La deuda | Lita Stantic Producciones | Gustavo Salvador Fontán | AR | [191] [194] | ||
Latinoamérica: Territorio en disputa | Independent | Nicolás Trotta and Esteban Alfredo Cuevas | AR | [191] [195] | ||
Magalí | Primer Plano Film Group / Cine Tren | Juan Pablo Di Bitonto | AR | [191] [196] | ||
Palestina, imágenes robadas | Aura Films | Rodrigo Vázquez | UK, AR | [191] [197] | ||
26 | El panelista | Independent | Juan Manuel Repetto | AR | [198] [199] | |
¿Quién mató a mi hermano? | Cine Tren | Ana Fraile and Lucas Scavino | AR | [198] [200] | ||
The Moneychanger | Buena Vista International | Federico Veiroj | AR | [198] [201] | ||
Opening | Title | Distributor | Director | Country | Ref. | |
---|---|---|---|---|---|---|
O C T O B E R | 3 | El prof3s1on4l | Cinemilagro | Martín Farina | AR | [202] |
Porno para principiantes | Primer Plano Film Group | Carlos Ameglio | AR, BR, UY | [202] [203] | ||
Punto muerto | Aura Films | Daniel de la Vega | AR | [202] [204] | ||
Que sea ley | Cine Tren | Juan Diego Fidel Solanas | AR, FR, UY | [202] | ||
10 | La hermandad | Bellasombra | Martín Falci | AR | [205] [206] | |
Monos | Campo Cine / Cine Tren | Alejandro Landes and Alexis Dos Santos | AR, CO, NL, DE, SE, UY, US | [205] [207] | ||
Pistolero | Primer Plano Film Group | Nicolás Galvagno | AR | [205] [208] | ||
Retrato de propietarios | Independent | Joaquín Maito | AR | [205] [209] | ||
17 | Construcciones | Periferia Cine | Fernando Martín Restelli | AR | [210] [211] | |
Fondo | Independent | Alejandro Bercovich | AR, QA | [210] [212] | ||
Los hipócritas | El Calefón | Santiago Sgarlatta and Carlos Ignacio Trioni | AR | [210] [213] | ||
Rosita | Cine Tren | Verónica Chen | AR | [210] [214] | ||
24 | ¿Yo te gusto? | Primer Plano Film Group | Edgardo González Amer | AR | [215] [216] | |
El rocío | Compañía de Cine | Emiliano Grieco | AR | [215] [217] | ||
Exilio en África | Independent | Ernesto Aguilar and Marcela Inés Suppicich | AR | [215] [218] | ||
Stand Up Villero | 3C Films | Jorge Croce | AR | [215] [219] | ||
Una de nosotras | Bellasombra | Soledad Castro Lazaroff | AR, UY | [215] [220] | ||
31 | Candy Bar | CineWorld | Alejandra Szeplaki | VE, AR | [221] [222] | |
Crímenes imposibles | BF París | Hernán Findling | AR | [221] [223] | ||
Desertor | Cierren | Pablo Brusa | AR | [221] [224] | ||
La vida en común | Independent | Ezequiel Yanco | AR | [221] [225] | ||
Mujer salvaje | Independent | Nadia Martínez | AR | [221] [226] | ||
N O V E M B E R | 7 | A Girl's Band | Independent | Marilina Giménez | AR | [227] [228] |
Amor de película | Buena Vista International | Sebastián Mega Rodríguez | AR | [227] [229] | ||
Cartero | Cine Tren | Emiliano Serra | AR | [227] [230] | ||
La forma de las horas | Independent | Paula de Luque | AR | [227] [231] | ||
La vida en común | Independent | Ezequiel Yanco | AR | [227] [232] | ||
Los Knacks: Déjame en el pasado | Primer Plano Film Group | Mariano and Gabriel Nesci | AR | [227] [233] | ||
Los prohibidos | Cine Tren | Andrea Schellemberg | AR | [227] [234] | ||
Mujer medicina | Independent | Daiana Rosenfeld | AR | [227] [235] | ||
Piedra, papel y tijera | APIMA | Macarena García Lenzi and Martin Blousson | AR | [227] [236] | ||
Un gauchito Gil | Primer Plano Film Group | Joaquin Pedretti | AR | [227] [237] | ||
14 | De cerca nadie es normal | Independent | Marcela Villarino | AR | [238] [239] | |
El plan divino | Aura Films | Víctor Laplace | AR | [238] [240] | ||
Los adoptantes | Cine Tren | Daniel Gimelberg | AR | [238] [241] | ||
Los últimos | Bellasombra | Pablo Pivetta and Nicolás Rodríguez Fuchs | AR | [238] [242] | ||
Taxi a Gibraltar | Aura Films | Alejo Flah | AR, ES | [238] [243] | ||
21 | 4 metros | Primer Plano Film Group | Francisco Palazzo | AR | [244] [245] | |
Apurímac. El dios que habla. | Primer Plano Film Group | Miguel Mato | AR | [244] [246] | ||
Cuerpos marcados | Independent | Ciro Néstor Novelli and Mariangeles San Martín | AR | [244] [247] | ||
El hombre del futuro | Compañía de Cine | Felipe Ríos | AR | [244] [248] | ||
Instrucciones para la poligamia | Cine Tren | Sebastián Sarquís | AR | [244] [249] | ||
Los sonámbulos | Digicine | Paula Hernández | AR, UY | [244] [250] | ||
28 | El cuidado de los otros | Cine Tren | Mariano González | AR | [251] [252] | |
El secreto de Julia | Independent | Ernesto Aguilar | AR | [251] [253] | ||
Lectura según Justino | Primer Plano Film Group | Arnaldo André | AR | [251] [254] | ||
D E C E M B E R | 5 | Ciegos | Campo Cine / Cine Tren | Fernando Zuber | AR | [255] [256] |
El Patalarga | Primer Plano Film Group | Mercedes Moreira | AR | [255] [257] | ||
Las buenas intenciones | Cine Tren | Ana García Baya | AR | [255] [258] | ||
12 | El gran combo | Kligger Contenidos | Matías Szulanski | AR | [259] [260] | |
Hogar | Campo Cine / Cine Tren | Maura Delpero | AR, IT | [259] [261] | ||
Inner Fires | Independent | Various | AR | [259] [262] | ||
La sabiduría | Primer Plano Film Group | Eduardo Pinto | AR | [259] [263] | ||
Lo intangible | Bellasombra | Matilde Michanie | AR | [259] [264] | ||
Raúl, la democracia desde adentro | Cine Tren | Juan Baldana & Christian Rémoli | AR | [259] [265] | ||
19 | La botera | Compañía de Cine | Sabrina Blanco | AR, BR | [266] [267] | |
Lejos de Pekín | Primer Plano Film Group | Maximiliano González | AR | [266] [268] | ||
Mangoré, por amor al arte | Aura Films | Luis R. Vera | AR, PY | [266] [269] | ||
We Are the Heat | Primer Plano Film Group | Jorge Navas | CO, AR | [266] [270] | ||
Since January 1 until March 9, Argentine films sold less than 200,000 tickets, only a 2.5% of the total ticket sales (7,790,000). In the previous year, the share of Argentine cinema in the local box office was almost 15%. [271] In contrast, there was an increment of 19% in the number of films released in the same period compared to the past year. [272]
Rank | Title | Distributor | Tickets sold | Ref. |
---|---|---|---|---|
1. | Heroic Losers | Warner Bros. | 1,781,152 | [274] |
2. | The Weasel's Tale | BF Paris | 564,025 | [275] |
3. | 4x4 | Buena Vista International | 317,390 | [276] |
4. | No soy tu mami | United International Pictures | 218,439 | [277] |
5. | La misma sangre | Buena Vista International | 90,781 | [278] |
6. | El hijo | Energía Entusiasta | 72,187 | [279] |
7. | River, el más grande siempre | Buena Vista International | 53,566 | [280] |
8. | El retiro | Buena Vista International | 47,094 | [281] |
9. | Witch | BF París | 40,121 | [282] |
10. | Florianópolis Dream | Cine Tren | 39,156 | [283] |
A motion picture content rating system classifies films based on their suitability for audiences due to their treatment of issues such as sex, violence, or substance abuse, their use of profanity, or other matters typically deemed unsuitable for children or adolescents. Most countries have some form of rating system that issues determinations variously known as certifications, classifications, certificates, or ratings. Age recommendations, of either an advisory or restrictive capacity, are often applied in lieu of censorship; in some jurisdictions movie theaters may have a legal obligation to enforce restrictive ratings.
Cinema of Colombia refers to film productions made in Colombia, or considered Colombian for other reasons. Colombian cinema, like any national cinema, is a historical process with industrial and artistic aspects.
Luis García-Berlanga MartíMMT was a Spanish film director and screenwriter. Acclaimed as a pioneer of modern Spanish cinema, his films are marked by social satire and acerbic critiques of Spanish culture under the Francoist dictatorship. These include Welcome Mr. Marshall! (1953), which won the International Prize at the 1953 Cannes Film Festival, Plácido (1961), nominated for an Academy Award for Best Foreign Language Film in 1962, and The Executioner (1963), winner of the FIPRESCI Prize at the 24th Venice International Film Festival He kept a long-time collaboration with screenwriter Rafael Azcona, with whom he co-wrote the scripts for seven of his films between 1961 and 1987.
Cinema of Argentina refers to the film industry based in Argentina. The Argentine cinema comprises the art of film and creative movies made within the nation of Argentina or by Argentine filmmakers abroad.
While the Peruvian film industry has not been nearly as prolific as that of some other Latin American countries, such as Mexico or Argentina, some Peruvian movies produced enjoyed regional success. Historically, the cinema of Peru began in Iquitos in 1932 by Antonio Wong Rengifo because of the rubber boom and the intense arrival of foreigners with technology to the city, and thus continued an extensive, unique filmography, with a different style than the films made in the capital, Lima.
Arcibel's Game, is a 2003 Argentine drama film co-written and directed by Alberto Lecchi and starring Darío Grandinetti and Diego Torres, among others.
Delia Amadora García Gerboles better known as Delia Garcés was an Argentine film actress of the Golden Age of Argentine Cinema (1940–1960). She made almost 30 appearances in film between 1937 and 1959 and acted on stage from 1936 to 1966. She won the Premios Sur Best Actress award three times from the Argentine Academy of Cinematography Arts and Sciences, as well as the Argentine Film Critics Association's Silver Condor Award for Best Actress, the Premios Leopold Torre Nilsson, Premio Pablo Podestá, and the inaugural ACE Platinum Lifetime Achievement Award from the Asociación de Cronistas del Espectáculo.
The Argentine Academy of Cinematography Arts and Sciences Awards are given by the Argentine Academy of Cinematography Arts and Sciences to honor achievement in Argentine cinema by Argentina-based filmmakers.
Waiting for the Messiah is a 2000 Argentine, Spanish, and Italian comedy drama film directed by Daniel Burman. The film features Daniel Hendler, Enrique Piñeyro, Héctor Alterio, Melina Petriella, Stefania Sandrelli, Imanol Arias and Dolores Fonzi, among others.
The National Institute of Cinema and Audiovisual Arts was an agency of the Government of Argentina. It promotes the Argentine film industry by funding qualified Argentine film production companies and supporting new filmmakers. The Institute was established on 14 May 1968 by law nº 17.741. The INCAA also organizes the Mar del Plata International Film Festival, Ventana Sur film market, and has its own film school called ENERC.
El camino de San Diego is a 2006 Argentine comedy film, written and directed by Carlos Sorín. The film features Ignacio Benítez, Carlos Wagner, among others.
Gatica, el mono is a 1993 Argentine drama film directed by Leonardo Favio. It is a biopic of Argentine boxer José María Gatica.
It won the Silver Condor for Best Film. It was selected as the Argentine entry for the Best Foreign Language Film at the 66th Academy Awards, but Leonardo Favio asked the Instituto Nacional de Cinematografía (INC) to remove it as a nominee in order to protest in delays of the Congress' approval of the Foreign Films taxes.
Marcelo Mosenson is the founder and executive director of the film production company Nomade Films.
The Headless Woman is a 2008 Argentine psychological thriller art film written and directed by Lucrecia Martel and starring María Onetto. The plot revolves around Vero (Onetto), who hits something while driving on a deserted road near Salta. Not being sure if she has hit a person or an animal, she drives off, and becomes increasingly mentally disturbed.
The Centro de Capacitación Cinematográfica (CCC) is a film school belonging to Mexico's Secretariat of Culture. It was founded in 1975 with the aim of providing technical and artistic training for those entering the film industry. The CCC is part of the International Association of Film and Television Schools and since 2011 to the International Federation of Film Archives. Recognized as a cutting-edge school in film teaching, it received the Award for Academic Excellence at the Tel Aviv Film School Festival, in Israel, in 2005, and in 2006 the Golden Ariel for its 30 years of educational work and contribution to national cinema. It is one of Mexico's two major film schools, the other being the Centro Universitario de Estudios Cinematográficos at the National Autonomous University of Mexico.
The Argentine Academy of Cinematography Arts and Sciences is an industry association in Argentina founded in 2004. Each year the Academy present the Premios Sur for categories such as best fiction film, best director, best actor and best photography. The Academy also selects Argentine films to represent the company in the annual awards of other countries, such as the Oscars, where appropriate.
Universidad del Cine is a private not-for-profit university located in the neighbourhood of San Telmo in Buenos Aires, Argentina. It was founded in 1991 by Manuel Antin, who currently serves as Rector. The school offers undergraduate, graduate and post graduate programmes focused in film and media arts.
Florianópolis Dream is a 2018 Argentine comedy film directed by Ana Katz. It was screened in the Contemporary World Cinema section at the 2018 Toronto International Film Festival.
The Heavy Hand of the Law is a 2017 Argentine legal drama film directed by Fernán Mirás from a screenplay he co-wrote with Roberto Gispert. Produced by Fernando Sokolowicz, the film stars Paola Barrientos as Gloria Soriano, a public defender disillusioned with her work for never having defended an innocent when she gets involved in a legal case regarding a rape in El Escondido, a fictitious town located in the deep interior of Buenos Aires with a pleading wrote by her former teacher and aspiring to a seat in the Argentine Judiciary, Prosecutor Mercedes Rivas.
Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the National Reorganization Process, during which the torture, extrajudicial murder, and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team, led by Julio César Strassera and Luis Moreno Ocampo, including their investigation before the trial.