Yo tenía un plazo fijo

A very coquette millionaire girl runs away before her engagement and is courted by a truck driver.

Víctor Tellez is an intellectual, world-weary film critic who prefers to think in French and eschew the clichés of romantic movies...until he finds himself living a sappy, feel-good love story of his own.

In her new comedy special, Malena Pichot stars as Eleonore von Schwarzenberg, an European vampire princess sent to live in a seedy Buenos Aires apartment.

A broken heart makes Sergio reject the city......A city full of late adolescents, girls that make you cry, drunks worried about matters they couldn´t handle even sober...and songs that say all that they would have wanted to say (if they knew that they needed to say something)

El Mono relojero is a 1938 Argentine animated short film directed by Quirino Cristiani. It is the only film from this director that exists up to this day, since all his other productions (including the first two animated feature films, El Apóstol (1917) and Sin dejar rastros (1918), as well as the first animated film with sound, Peludópolis (1931)) were lost in a series of fires at the facilities where the negatives and copies were stored.

Felipe a wealthy businessman who has been quadriplegic, due to an accident, is looking for a therapeutic assistant. There are several highly qualified, but he decides to take the assistant of his gardener, Tito who has decided to resign.

In a tiny rural village in Argentina, Rita Lopez, a pious yet insatiably competitive woman, discovers that staging a miracle could be her ticket to sainthood.

A man tries to rob a bank and the bank's clerk, a yuppie, pretends the thief has kidnapped him to help him run away. While they're running away, they meet a girl who becomes part of the team.

An all-girl band flees to Argentina to avoid their creditors. Comedy with songs.

Detective Douglas seeks to solve the crime of a former co-worker. Only the help of El Gaucho will be able to protect him against the plan that is coming.

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.