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A father who has lost his memories. A son who search into home movies his father shot. And between them, the impossible memory of the missing mother.

The story of "Act of Violence Upon a Young Journalist," a 1988 Uruguayan cult film created by enigmatic filmmaker Manuel Lamas.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship. This structure is intercut with sequences of daily life in Recoleta, including the cemetery's custodians, whose work amid the tombs alludes to the ongoing construction of the nation's history.

1 - the last day in the life of Pasolini but from the look of his aggressor a ragazzi - like any other his friends - his environment - his tragedy 2 - a group of ragazzis working with their wooden carts in the city of Cordoba but the gaze is focus on them - playing in the river and with a mysterious woman Ragazzi is a symphony in two movements

Believing that military experience will make him a strong and respected man, Jorge, a young Ecuadorian, joins the armed forces in the midst of his country's 1941 border war with Peru. Captured and imprisoned by enemy forces and given up for dead, Jorge faces neglect, hunger, and, possibly, even death as he recovers from his injuries. He will soon have to choose between escaping with fellow prisoner Hugo or staying at the camp under the care of the Peruvian nurse Dolores, with whom he's fallen in love.

The portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that's abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernan and Lucia don't know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. Maria Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas' rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. "I was sad, but I'm better" says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters' sadness eventually subsides and seems to disappear to "that place that no one has ever visited, that place we call the past", in the words of Juan Jose Saer (Las Nubes).

A woman tries to get back on her feet after suffering from a devastating break-up.

An enchanted and dangerous jungle. A woman and her husband. A young boy and a teenaged girl who look like brother and sister. Another girl and two men from another time. Gunshots. An escape. A cascade and a storm. Love. Passion. Death.

Pierre works as a foreman in the work of a multinational in the jungle, clearing forests and planting pines to make paper. But his life changes when he falls in love with Ana, a rural teacher worried about the problems that the abuse of agrochemicals is causing in the population.

A filmmaker analyzes with her psychologist the variety of reasons why and wherefores she could not end the documentary in which she had worked for 12 years. The register and reflections of a Jewish communist, Benito Sak, from his old age up to the present time. Mr Sak's reflections about his total commitment to the political activity in his youth, being a political prisoner and then deported during Uriburu's dictatorship. The whole analyses being done by the filmmaker allowed her to articulate a new documentary. The documentary is a deep look to the unconscious of every movie.