Fearless gunslinger, Lucky Luke, is ordered by the President to bring peace to Daisy Town.

The childhood memories of writer Martín Kohan are intertwined with the unreleased archive from the Channel 9 newscast between 1973 and 1980. Through this, a key period of Argentine history is reconstructed, exploring the relationship between personal memory and the public discourse of the time

Lucio, a prestigious university professor, takes the position of substitute teacher at a high school in the suburbs of Buenos Aires, where he grew up. Through tales, novels and poetry, he tries to distract his class from the harsh reality of their everyday lives. But soon, he must step out of his professional duties when Dilan, one of his students, is threatened by a local drug kingpin.

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.

A teaching assistant at a private Buenos Aires school begins obsessively spying on her students in the early 1980s, as the public rises up against the military dictatorship.

A documentary of absurdist humor that delves into the immaturity of Witold Gombrowicz, the controversial Polish writer who lived in Argentina and wrote the first existentialist novel.

Sebastián Pagani, a young film director, returns to his hometown to film a story of Haroldo Conti. There he expected a ghost from the past: recently, a childhood friend just committed suicide in mysterious circumstances. Pagani gets to know details about his death only multiply the enigmas. Slowly, he begins to become disenchanted with their own project to become more involved in research on the last day of the suicide. But towards the end, both concerns come together in unexpected ways. The Turn is a sad irony about memory and identity

Mario, a university professor, uses his research on the writer Ezequiel Martínez Estrada to escape from his past. Settled in Bahía Blanca, the new city seems to be the ideal place for him to forget, until a chance encounter with an old friend unleashes the worst of dangers.