The best Claudia Cantero’s movies

At a Latin American Presidents’ Summit in Chile where the region’s alliances and geopolitical strategies are shaped, Hernán Blanco, the president of Argentina, lives a political and family drama. Through his son in law, he’s implicated in a corruption case. On her father’s call, Marina Blanco, attends the Summit to find protection, to earn time and to negotiate a way out. That past once calm and domestic, becomes a menacing element, almost fantastic, seen from the top of public life, seen from the Summit.

After running into something with her car, Vero experiences a particular psychological state. She realizes she might have killed someone.

Following a bust-up with her girlfriend, Emilia returns from the city to her mother's village, somewhere in Patagonia. Her mother isn't overjoyed about Emilia's return, as this disrupts her peaceful existence. Emilia tries to decide how she wants to carry on with her life, but is confronted with people and feelings from her past. Bored and frustrated, or just looking for intimacy, she seduces a number of men, including her childhood sweetheart, but also falls in love with a girl at the school where she teaches gym – an obsession that distracts her from her broken heart and musings about the future. In his first feature, director César Sodero contrasts Emilia's inner restlessness with the immutability of Patagonia. He does this using images of impressive landscapes, natural dialogue and telling non-verbal communication. Surrounded by the peace and beauty of nature, inner chaos gradually gives way to acceptance and self-awareness.

Clara and Alejandro move into a new house. A few days later, he goes on a work trip and she is left alone, surrounded by moving boxes. That chaos makes her accept a series of random invitations that will take her away from the hermetic world she lives in.

Marcela’s world becomes strange and unfamiliar after her sister Rina dies. She feels lost in her own house, and her relationship with her husband and children seems to suffer. But when Nacho, a young friend of her daughter’s, unexpectedly drops by, she starts to talk and walk with him. Gradually Marcela begins to have conversations with relatives from another dimension.

Mariano, 16, inexplicably and without warning, shoots himself twice and improbably survives. Then, life goes on. His brother pursues a romance with a girl working at a fast-food joint, his mother takes off on a trip with a stranger, and Mariano recruits a woman to join his medieval wind ensemble.

The expected return of the son for his father funeral shakes up a traditional and secretive familiar environment where women are supposed to count on men to survive as he shows himself turned into a female.

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.

A trumpeter for the Uruguayan Air Force Band finds an opportunity to make his dreams come true after enrolling in a music contest.