Mar del Plata International Film Festival 2026: juries

The 41st Mar del Plata International Film Festival opened on Thursday 5 November 2026 with Martin McDonagh’s Wild Horse Nine (Caballo salvaje nueve) and runs to 15 November, with general tickets cut to ARS5,000 ($3.2) in an effort to rebuild its audience. EFE counts about 150 films, 14 of them in the International competition for the Astor, and more than 30 screenings already sold out. The festival is organised by Argentina’s film institute INCAA (Instituto Nacional de Cine y Artes Audiovisuales) and accredited by the International Federation of Film Producers Associations (FIAPF).

Key facts

Dates and organiser: 5–15 November 2026, Mar del Plata, Argentina; INCAA; FIAPF-accredited; 1,127 submissions, up 27% on 2025
Opening and closing: Wild Horse Nine (Martin McDonagh, USA, 118 min) and Borges and Me (Marc Turtletaub, UK/The Netherlands/Belgium/USA, 109 min)
Competitions: seven, with 70 titles: 14 International, 14 Latin American and 12 Argentine features, 24 shorts across three strands, and 6 work-in-progress projects
Juries: Peruvian director Francisco Lombardi presides over the International feature jury; Astor Piazzolla Lifetime Achievement Awards go to Natalia Oreiro, Alejandro Agresti and Emilio Kauderer
Tickets: ARS5,000 ($3.2) general, ARS3,000 ($1.9) students and pensioners, ARS25,000 ($16) for ten; the 2025 ticket was reportedly ARS7,000 ($4.5)

Dates, venue and exchange rate

Dollar figures in this article convert at ARS1,546.68 to the dollar, the xe.com mid-market rate for 5 November 2026. The European Central Bank does not publish a reference rate for the Argentine peso.

The festival reports 1,127 film submissions for the edition, a 27% rise on last year, according to its edition announcement. Opening night was held in the Sala Astor Piazzolla of the Teatro Auditorium, the festival’s main venue. We reported the competition slate when it was published in our earlier line-up piece; this report adds the juries, the prize rules, the ticketing and audience context, and the full official programme below.

Two men in 1970s clothes laugh on a lounge bench in an airport terminal, in a scene from Wild Horse Nine — A scene from Wild Horse Nine (2026), the opening film, as published on the festival’s opening and closing films page. Courtesy of Mar del Plata International Film Festival

Tickets and the audience test

General admission is ARS5,000 ($3.2) at the Teatro Auditorium and at the Paseo Aldrey and Cine Ambassador cinemas, according to the festival’s ticketing page. Students and pensioners pay ARS3,000 ($1.9), at physical box offices only. Packs of five and ten tickets, valid at Paseo Aldrey and Cine Ambassador, cost ARS15,000 ($9.7) and ARS25,000 ($16). Screenings at the Teatro Municipal Colón are free on a first-come basis, and so are those at Villa Victoria, where tickets are collected from the city’s tourist information centre the day before. The Auditorium also offers two tickets for one on its first two morning and first two afternoon screenings, subject to capacity.

Clarín reported that prices fell almost 30% on 2025. Qué digital put last year’s ticket at ARS7,000 ($4.5), which by our arithmetic makes the cut 29%.

Attendance is not a side issue for this festival. INCAA said on 6 April that FIAPF had ratified Mar del Plata as a Class A festival, the only one in Latin America, after the federation brought the category back following a 20-year gap. INCAA lists public attendance among the criteria, alongside the number and origin of films, the draw of industry professionals and international press coverage. In June, INCAA president Carlos Pirovano told La Capital that FIAPF had begun measuring Mar del Plata and that the category depends on drawing large audiences. Jorge Stamadianos, one of the festival’s two artistic directors, said an average of about 60,000 spectators would be ideal by FIAPF’s standards, a figure tied to the number of screens and screenings. Clarín reported that Stamadianos’s co-director Gabriel Lerman and Pirovano had warned that the festival could lose the category if audiences stayed away again.

On opening day Lerman told Qué digital that FIAPF had sent a letter that day confirming Mar del Plata remains Class A, one of 17 festivals in the world with the rating. We have not seen the letter. The same outlet reported that the festival’s press office said 30,000 tickets had been sold before opening, equal to the whole 2025 edition, and that 35% of the audience is from Mar del Plata. These are organiser figures, not audited admissions. EFE and Clarín both put the number of sold-out screenings above 30; EFE names Fjord, La bola negra (The Black Ball), Rose and Perfume among them. For comparison with another festival counting heads this week, see our report on Philadelphia’s record attendance.

Juries and prizes

Francisco Lombardi presides over the International feature jury, according to EFE, La Nación and MDZ. The Peruvian director, known for his adaptation of Mario Vargas Llosa’s novel The Time of the Hero, is joined on the festival’s jury page by:

Carlos Cuarón, Mexican screenwriter and director, Silver Lion for best screenplay at Venice in 2001 for Y Tu Mamá También
Birgitte Stærmose, Danish director of Room 304, Darling, Camino and Afterwar, who has also worked on HBO’s Industry
Uisenma Borchu, Mongolian director of Black Milk, which played Berlinale Panorama
Silvia Bizio, Italian journalist and producer, former Hollywood correspondent for La Repubblica and L’Espresso, and a board member of the Golden Globe Foundation

Argentine actress Eva de Dominici completes the six-member panel, according to La Nación, MDZ and EFE. The festival’s own jury page does not list her, so we cannot confirm her place from the official source.

The other juries, from the same page:

International shorts: Elvi Cano (Spain), Miranda de Sá Souza (Argentina), Miguel Dias (Portugal), co-founder and director of Curtas Vila do Conde
Latin American features: Luis Kramer, Pablo Torre and Lucía van Gelderen, all Argentine
Argentine features: Fernando Castets, Beatriz Iacovello and Agustín Palleres Yoffe
En Tránsito work in progress: Richard Aiello, Paula Carruega and Blas Eloy Martínez

The jury page does not say who judges the Latin American and Argentine short competitions.

The festival regulations set the prize list. The International competition gives Best Feature Film, Special Jury Prize, Best Director, Best Actor, Best Actress and Best Screenplay. The jury may add up to two special mentions and one ex aequo award, which cannot be for best film, and no film can take more than two awards. The Latin American jury gives one Best Feature Film award and may add two mentions. The Argentine jury gives Best Feature Film and Best Director, with up to two mentions. Each of the three short competitions has one best-short award and up to one mention, and En Tránsito has one award and up to one mention. The regulations do not state prize money. The top prize is the Astor; Calle Málaga, a Spain–Morocco co-production, won it last year, according to La Nación.

Separately, the Astor Piazzolla Lifetime Achievement Awards go to Oreiro, Agresti and Kauderer. La Nación reported that actor Eduardo Blanco handed Kauderer his Astor at the festival’s presentation gala at the Palacio Libertad in Buenos Aires on Monday 19 October, where he also conducted the Juan de Dios Filiberto orchestra in film themes.

The Teatro Auditorium’s schedule has the closing ceremony on Saturday 14 November at 17:30, followed by Borges and Me at 20:00, with winning films repeated on Sunday 15 November. Qué digital, however, wrote that the closing would be on 15 November with the winners revealed that evening. We will confirm the date when the festival does.

What is on

Beyond the opener, the International competition carries Danny Boyle’s Ink, which reconstructs Rupert Murdoch’s 1969 purchase of The Sun with Guy Pearce and Jack O’Connell and was seen at Venice in September, and Simon Stone’s Elsinore, in which Andrew Scott plays the actor Ian Charleson, who played Hamlet at the height of the AIDS epidemic while gravely ill, according to EFE and La Nación. Ink also won best international feature at Evolution Mallorca this week, as our Evolution Mallorca report covers, and Jordan Firstman’s Club Kid from the New Auteurs strand took the best debut feature prize there. Miguel del Arco’s The Sentence (Los relatos), with Juan Diego Botto and Marta Etura, has its world premiere in Mar del Plata, and Ricardo Preve’s Argentine documentary A Price We Have to Pay (Un precio que tenemos que pagar), on the 1969 death in Vietnam of La Nación photojournalist Ignacio Ezcurra, also has its world premiere there.

The Latin American competition is led by Mexico with four films, with Argentina, Brazil and Colombia at two each, MDZ reported. La Nación says Gugu’s World (Feito Pipa) is Brazil’s Oscar submission and Narciso is Paraguay’s. Outside the competitions, the Award Winners from Leading Festivals strand includes Cristian Mungiu’s Fjord, which Clarín says won this year’s Cannes top prize, and La bola negra, which we covered when it won the BFI London audience prize.

The festival also runs tributes to Héctor Babenco, on the 80th anniversary of his birth and the 10th of his death, with a panel on his legacy involving his family; to Andrzej Wajda and Eduardo Mignogna; and to the actresses of Japanese cinema’s golden age, with films by Kinoshita, Ozu and Mizoguchi. Juan José Jusid’s No toquen a la nena is screened for its 50th anniversary.

Industry, work in progress and the parallel event

The official programme lists no market strand and gives no figures for industry delegates or buyers. Its industry content is En Tránsito, a competition for Argentine and Latin American features still in production, in which selected projects show fragments of no more than 10 minutes and one wins an award. Six projects are listed below. Cine Inmersivo, the VS TECH immersive-media strand organised by Virtual 360 with FilmGate Miami, runs on 11–13 November at Paseo Aldrey and moves on to Montevideo as part of Ventana Sur, according to the festival’s call for entries, which says the call involves no commercial distribution agreements. For a comparable Latin American project platform this month, see our report on SANFIC Industria. La Capital reported in June that the festival would also add talks and training on new technologies, with a focus on artificial intelligence.

A second event runs alongside. Fuera de Campo, a self-managed festival now in its third edition, is held on 5–10 November at the Teatro Enrique Carreras, opening with Mariano Llinás’s 323-minute Biografía de Jorge Luis Borges, with tickets also at ARS5,000, according to Ámbito and the event’s own programme. Clarín notes that it opens on the same day, a couple of blocks from the Auditorium.

Full official selection

The list below follows the festival’s official full programme, section by section: title, director or directors and country of production. Titles are given in English with the original in brackets where the festival lists both. On the official page, James Gray’s film appears as Tiger Paper; we use its release title, Paper Tiger. For Enlorquecido, the page’s English title (“Lorcazed: Only Mistery Makes Us Live”, as spelt there) is not used: the documentary was released in Spain under its Spanish title. The page lists the Pearls entry Karaí Octubre twice, shown once here, and gives no countries for the work-in-progress follow-ups of the student and university programmes. By our count the page carries 231 distinct entries, shorts and institutional screenings included; EFE’s figure of about 150 films and Qué digital’s of about 180 productions are the organisers’ own totals and use different scopes.

Opening and closing films

Wild Horse Nine (Caballo salvaje nueve), Martin McDonagh (USA)
Borges and Me, Marc Turtletaub (UK/The Netherlands/Belgium/USA)

Competitions

International Feature Film Competition (14)

2 Valid IDs, Ma-an L. Asuncion-Dagñalan (Philippines)
The French Teacher (A professora de francês), Ricardo Alves Jr. (Brazil/France/Portugal)
Stamped (Bélyeg), Róbert Pajer (Hungary)
Children Untold, Miwa Nishikawa (Japan)
Elsinore, Simon Stone (UK)
Halima, Yassine El Idrissi (Morocco)
Ink, Danny Boyle (UK)
The Cord (Kindik), Darkhan Tulegenov (Kazakhstan)
The Sentence (Los relatos), Miguel del Arco (Spain)
The Night Arezou Disappeared (Shabe Napadid Shodane Arezou), Arian Vazirdaftari (Iran/Germany)
Truly Naked, Muriel d’Ansembourg (The Netherlands/Belgium/France)
A Price We Have to Pay (Un precio que tenemos que pagar), Ricardo Preve (Argentina/Vietnam)
Vigilante, Olivier Pairoux (Belgium/Canada)
The Great Grape Harvest (Vindima), Luís Galvão Teles (Portugal/Brazil)

International Short Film Competition (8)

2:Love, Ronni Shalev (Belgium/France/Israel)
Beijing Ghosts, Dwight Yao (Hong Kong/China)
British Pool (Bor Mayim), Gidi Herman (Israel)
Dear Son (Walady), Wassim Geagea (Egypt/Lebanon/Qatar)
The Last Spring (Dernier Printemps), Mathilde Bédouet (France)
I Can’t Think of Anything Right Now, Hussen Ibraheem (Lebanon/Germany/Argentina)
Marble & Lemons, Anna Katalin Lovrity (France/Hungary)
Please, Anna Mantzaris (Sweden/France/Czech Republic/Norway/Finland)

Latin American Feature Film Competition (14)

Love is the Monster (Amor es el monstruo), Neto Villalobos Brenes (Costa Rica/Peru/Panama)
Cosme, a Family Matter (Cosme, un asunto de familia), Álvaro Curiel de Icaza (Mexico)
City of the Dead (Ciudad de muertos), J.M. Cravioto (Mexico)
Delivery Girl, Jorge Shinno (Peru/Spain)
The Bovine with the Curved Horns (El bovino de los cuernos curvos), Omar E. Ospina Giraldo (Colombia)
The Garden We Dreamed (El jardín que soñamos), Joaquín del Paso (Mexico)
The Smoking Fish (El pez que fuma), Luis Fernández (Venezuela/Spain)
Forever Mom (En el fondo está mamá), Ana Laura Calderón (Mexico/Colombia)
Gugu’s World (Feito Pipa), Allan Deberton (Brazil)
Irreparable, Klych López (Colombia)
Narciso, Marcelo Martinessi (Paraguay/Brazil/Portugal/Germany/Spain/France/Uruguay)
Rumor, Joana Nin (Brazil)
Sandra, The Primate Citizen, Sinae Ha (South Korea/Argentina)
Winnipeg, Seeds of Hope (Winnipeg, el barco de la esperanza), Elio Quiroga and Beñat Beitia (Spain/Chile/Argentina)

Latin American Short Film Competition (8)

The Girl Who Wanted to be a Stone (A menina que queria ser pedra), Jackson Abacatu (Brazil)
Shopping Cart (Carrinho), Oriol Barberà (Brazil)
Faces, Andrés Molano Moncada (Colombia)
Gay 2.0, Fudo (Mexico/USA)
The Dance of the Angels (La danza de los ángeles), Juan Restrepo Molina (Colombia)
One or Two Ways or Die, Pietro Coppolecchia (Mexico/USA)
Since Always, Forever (Para toda la vida), Fernanda Camacho (Mexico)
Well-Diggers (Poceiros), Guilherme Peraro (Brazil)

Argentine Feature Film Competition (12)

Brew Before You Cry (Cebar, frenar, llorar), Gerardo Tassan (Argentina)
Chekhov in Rosario (Chejov en Rosario), Gustavo Postiglione (Argentina)
5000 Strokes (Cinco mil brazadas), Gabriel Bendersky (Argentina)
Drum Skin (Cuero), Joaquín Cambre (Argentina)
Behind the Passion (Detrás de la pasión), Michael Shusterman and Mason Bowles (Argentina/Nepal/Spain/USA)
The Agonist (El agonista), Sebastián Manusovich and Pablo Pintor (Argentina)
The Diego Nobody Saw (El Diego que nadie vio), Román Cárdenas (Argentina)
The Enigma of Franca Farmín (El enigma de Franca Farmín), Octavio Revol Molina (Argentina/Colombia/Spain)
Fuego amigo, Alejandro Magnone (Argentina)
Perfume, Lucía S. Ruiz and Andrea Testa (Argentina/Uruguay)
Badgeless (Sin placa), Yamil Chadad (Argentina)
It’s Not Tomorrow Yet (Todavía no es mañana), Manu Vazquez Santana (Argentina)

Argentine Short Film Competition (8)

A Pilgrimage of Dreams, Lila Izquierdo and Thomas Hogben (Spain/Argentina/UK)
An Impossible Word of Praise, Arturo Spano (Argentina/Italy)
The Innocence of Water (El agua nunca es mala), Victoria Meza (Argentina)
In the Name of the Father (En el nombre del padre), Marcelo Bórmida (Argentina)
Interference (Interferencia), Catalina Siri (Argentina)
The Wedding Bangles (Las esclavas), Andrés H. Denegri (Argentina)
Synchronicity (Surcromía), Luis Paris (Argentina/France)
Broken English Theater (Teatro in Inglish), Marina Ilari (Argentina/USA)

En Tránsito work-in-progress competition (6)

Bravo, Bonzo Villegas (Spain/Chile/Argentina)
Cotillón París, Adriano Salgado (Argentina)
The Salt Path (El camino de la sal), Soledad San Julián (Argentina/Chile)
The Torment (El tormento), Mariano Cócolo (Argentina)
Exposing the Light (Exponer la luz), Javier Colongo (Argentina)
The Wonders (Las maravillas), Axel Cheb Terrab (Argentina)

Panorama and parallel sections

Panorama Auteurs (8)

Frosted Window, Kim Jong-kwan (South Korea)
Gentle Monster, Marie Kreutzer (Austria/Germany/France/Sweden)
Cervantes Follies: A Documentary (La revista del Cervantes: El documental), Gonzalo Demaría and Lucía Victoria Roux (Argentina)
La Vénus électrique, Pierre Salvadori (France/Belgium)
Rehearsals for a Revolution, Pegah Ahangarani (Czech Republic/Spain)
Missing (Se busca), Kenya Márquez (Mexico)
The Only Living Pickpocket in New York, Noah Segan (USA)
Paper Tiger (Tigre de papel), James Gray (USA)

New Auteurs (6)

Club Kid, Jordan Firstman (USA)
Fátima & Yolanda, Marcela Mariz and Renata Di Carmo (Brazil)
Mommy Blue, Bernadette Mayer (Hungary)
Pacific (Pacífico), Riccardo Gabrielli R. (Colombia)
Solidarity, Dustin Brown (USA)
The Stars, the Boy and the Piano, Chih-Wen Hsieh (Taiwan)

Award Winners from Leading Festivals (9)

Congo Boy, Rafiki Fariala (Central African Republic)
Everybody Digs Bill Evans, Grant Gee (UK/Ireland)
Everytime, Sandra Wollner (Germany/Austria)
Fjord, Cristian Mungiu (Romania)
Josephine, Beth de Araújo (USA)
The Black Ball (La bola negra), Javier Calvo and Javier Ambrossi (Spain)
The Violinist (La violinista), Ervin Han and Raúl García (Singapore/Spain/Italy)
Rose, Markus Schleinzer (Austria/Germany)
Notre Salut (Un hombre de su tiempo), Emmanuel Marre (France/Belgium)

Spain on Screen (5)

The Last Goodbye (Azken Agurra), Koldo Almandoz (Spain)
Cool Books (Casi todo bien), Andrés Salmoyraghi and Rafael López Saubidet (Spain)
Blue Lights of Benidorm (Después de Kim), Ángeles González-Sinde (Spain)
Enlorquecido: Solo el misterio nos hace vivir, Miguel Poveda and Manu Huelva (Spain)
Bad Beast (Mala bestia), Bàrbara Farré (Spain)

Contemporary Israeli Cinema (5)

Amal, David Ofek and Nahd Bashir (Israel)
I Can’t Say No to Myself, Hadas Ben Aroya (Israel/Canada/Germany)
Many Waters (Mayim Rabim), Imri Matalon (Israel)
Two Peas in a Pod (Shtei Tipot Mayim), Elite Zexer (Israel/Poland/Germany)
Where to?, Assaf Machnes (Israel/Germany)

Nordic Lights (9)

Anorgasmia (All the Things We Do to Survive), Lauri-Matti Parppei (Iceland/Canada/Czech Republic)
Cute, Marlene Emilie Lyngstad (Denmark)
Disturbed (Röskun), Bragi Thor Hinriksson (Iceland)
Growth of the Soil (Markens Grode), Hans Petter Moland (Norway)
Lex Julia, Laura Hyppönen (Finland/Estonia/Poland/Sweden)
My First Love (Min forste kjaerlighet), Mari Storstein (Norway)
The Patron (Mecenaten), Julia Thelin (Sweden)
The Squirrel (Orava), Markus Lehmusruusu (Finland/Germany/The Netherlands/Sweden)
Woman Unknown (Kvinde ukendt), May el-Toukhy (Denmark/Latvia/Sweden)

Altered States (3)

Atlantic Rhapsody, Zhong Kaifeng (China)
Helmut, el hielo y la eternidad transitoria, Helmut Ditsch and Zuzy Praus (Liechtenstein/Austria/Argentina)
Recrucified, Theo Papadoulakis (Greece)

Midnight Screamings (4)

Ghost in the Cell, Joko Anwar (Indonesia/South Korea)
The Phantom of the Opera (Le fantôme de l’opéra), Alexandre Castagnetti (France)
Don’t Sleep Alone (No duermas sola), Talo Silveyra (Argentina)
Pacific (Pacífico), Gonzalo Gutierrez (Argentina/Colombia)

Original Soundtrack (OST) Presents (1)

Argentina stone, Gabriel Grieco (Argentina)

Children and Young Audiences (5)

I, Object, Andrew Niccol (Canada/New Zealand)
Iron Boy (Le corset), Louis Clichy (France/Belgium)
Muyi (Muyi, la légende du village des femmes), Julien Chheng (France)
Shaun the Sheep: The Beast of Mossy Bottom (Shaun el cordero: El monstruo de Mossy Bottom), Steve Cox and Matthew Walker (UK)
Viva Carmen!, Sébastien Laudenbach (France)

Special Screenings (11)

Detective Chinatown 1900, Chen Sicheng and Dai Mo (China)
The Match (El partido), Juan Cabral and Santiago Franco (Argentina/Spain)
HUELLAS. Echoes of State Terrorism in Mar del Plata 50 Years On (HUELLAS. A 50 años del golpe en Mar del Plata), Lucho Gargiulo (Argentina)
The Virgin of the Quarry Lake (La virgen de la tosquera), Laura Casabé (Argentina/Mexico/Spain)
Lo dejamos acá, Hernán Goldfrid (Argentina)
Memory of a Sunset (Memoria de un atardecer), Pedro Pablo García Caffi (Argentina)
Parque Lezama, Juan José Campanella (Argentina)
Pepita, la pistolera, Lucía Puenzo (Argentina)
Risa y la cabina de viento, Juan Cabral (Argentina)
Sólo Fanáticos, Leo Damario (Argentina)
I, Narcissus (Yo, Narciso), Adrián Suar (Argentina)

Mar del Plata Classics and tributes

Classics and Astor tributes

A Place in the World (Un lugar en el mundo), Adolfo Aristarain (Argentina, 1992; Astor tribute to Emilio Kauderer)
El acto en cuestión, Alejandro Agresti (Argentina/The Netherlands, 1993; Astor tribute to Alejandro Agresti)
Gilda, I Do Not Regret This Love (Gilda, no me arrepiento de este amor), Lorena Muñoz (Argentina/Uruguay, 2016; Astor tribute to Natalia Oreiro)
La casa del ángel, Leopoldo Torre Nilsson (Argentina, 1957)
No toquen a la nena, Juan José Jusid (Argentina, 1976; 50th anniversary screening)
Juan que reía, Carlos Galettini (Argentina, 1973)
Piedra libre, Leopoldo Torre Nilsson (Argentina, 1973)

Actresses of the Golden Age of Japanese Cinema (4)

Carmen Comes Home (Karumen kokyō ni kaeru), Keisuke Kinoshita (Japan, 1951)
Tokyo Story (Tōkyō monogatari), Yasujiro Ozu (Japan, 1953)
The Crucified Lovers (Chikamatsu monogatari), Kenji Mizoguchi (Japan, 1954)
The Life of Oharu (Saikaku ichidai onna), Kenji Mizoguchi (Japan, 1952)

Homage to Andrzej Wajda (4)

The Conductor (Dyrygent), Andrzej Wajda (Poland, 1979)
Katyn, Andrzej Wajda (Poland, 2007)
The Promised Land (Ziemia obiecana), Andrzej Wajda (Poland, 1974)
Innocent Sorcerers (Niewinni czarodzieje), Andrzej Wajda (Poland, 1960)

Homage to Héctor Babenco (4)

At Play in the Fields of the Lord, Hector Babenco (USA/Brazil, 1991)
Foolish Heart (Corazón iluminado), Hector Babenco (Brazil/Argentina/France, 1998)
My Hindu Friend (Meu amigo hindu), Hector Babenco (Brazil, 2015)
Pixote: The Law of the Weakest (Pixote: A lei do mais fraco), Hector Babenco (Brazil, 1980)

Homage to Eduardo Mignogna (1)

Sol de otoño, Eduardo Mignogna (Argentina, 1996)

Institutional screenings

Pearls: Outstanding Works from National Festivals (27)

Agua negra, Nicolás Deluca and Luján Agusti (Argentina/Peru/Finland/Indonesia; Festival nacional de cine de Río Grande)
Cordobeces: La película, Lucía Palacio (Argentina)
Dice que…, Alejandro Fernández Moujan (Argentina; FICER)
Dinolandia, Pablo Chehebar and Nicolás Iacouzzi (Argentina; Festival Internacional de Cine de las Alturas)
Suerte Josefa, Javier Témoli (Argentina/Spain; FAB)
Indómita luz, Luis Sampieri (Argentina/Spain; Semana de cine de Salta)
La otra mejilla, Valeria Bertuccelli (Argentina; Semana de cine de Salta)
Qué perforado está mi valle, Gastón Bejas, Natalia Gelós, Martín Álvarez Mullally and Nico Perrupato (Argentina; Tucumán Cine)
Shulka, Cecilia Casanova and Raquel María Soaje (Argentina; Tucumán Cine)
El último viaje, Martín de Dios (Argentina; Festival de cine de las Pasturas)
Gente de la ruta, Lucas Koziarski (Argentina; Oberá en cortos)
La luna despojada, Roly Ruiz (Argentina; Oberá en cortos)
Hijo mayor, Cecilia Kang (Argentina/France; MAFICI)
El cinturón de Olivia, Jeremías Magnaghi Rudy (Argentina; Cine a la vista)
Karaí Octubre, Braian Lopez (Argentina; Festival de cine de Lapacho)
La nación oculta, Colectivo Pueblo Moqoit (Argentina; Festival de cine de Lapacho)
La Nena, Josefina Lens (Argentina; Festival de cine de Lapacho)
Las que sostienen, Agustina Lazarte (Argentina; Festival de cine de Lapacho)
Nchuwejh, Marcel Czombos (Argentina; Festival de cine de Lapacho)
Toda la luz mala, Carolina Schaller (Argentina; Festival de cine de Lapacho)
Conociendo a Cuqui Honik, Luis Urquiza (Argentina; FNA – Arte registrado)
Hecho a mano, Carolina Miy (Argentina; FNA – Arte registrado)
Pequeños ojos, Gabriela San Martín (Argentina; FNA – Arte registrado)
Suelo, Emilio Lozano (Argentina; FNA – Arte registrado)
Sumergida, Josefina Lens (Argentina; FNA – Arte registrado)
Un cuerpo. Un teatro, Camila Menéndez (Argentina; FNA – Arte registrado)
Xalpen, Joaquín Estévez Díaz and Sol Bottaro (Argentina; FNA – Arte registrado)

10th ENERC showcase, programme 1: Todo lo que queda (6)

El reino de las nubes, Lucas Salinas and Nazarena Salomón
El fin de las vacaciones, Paulina Belbruno
Maldita tierra querida, Flavia Antonella Ten
Cortocircuito, Valentina Porter
Volver a verte, Román Ruberti Godoy
Peregrina, Camila Cheli

10th ENERC showcase, programme 2: Bajo la superficie (6)

De Boca en Boca, Juliana Henríquez
Hace mucho que no llueve, Lucila Mingrone
Mientras nada, Luisina Lasque
Un brazo, Mateo Milione
Sueño para otra máquina, Tomás Suárez
La orilla de un testigo, Teo Alazraqui

Historias breves: Blood Window (5)

7:07, Pablo Javier Elias
1872, Martín Ezequiel Piñeiro
El hallazgo, Renzo Guillermo Temporetti Fochi
Kayul, Daniel Jatib
Nox o el sonido de la asfixia, Marco Adrián Cincotta

23rd Pantalla UBA (FADU, University of Buenos Aires) (6)

-34.527396 ; -58.460862, Colectivo Guinda (Luz Ramirez, Ignacio Hidalgo, Leila Ríos and Mariana Urquiza)
Mudarse es lo segundo peor que te puede pasar en la vida, Felicitas Páez
Un camión lleno de besos, Malena Arellano
Betty, Oriana Carossa
Ni una sola flor, Amanda Arzeno, Ana Cura, Leticia Nuñez, Marianela Ochoa and Catalina Ochoa
PIM, PUM, ¡PAM!, Mora Albamonte

24th Pantalla UBA (FADU, University of Buenos Aires) (6)

Afortunados, Florencia Rosati and Nicolás Villalobos Villalobos
La hora de la siesta, Almendra Groppo Trupia
Bicha, Giuliana Solla, Martina Turrisi, Juan Bautista Alvarez and Sol Gulisano
Retruco, Matías Iván Sisaric Moscarola
Larga vida a Kong, Gaspar Merkin Saavedra
Condenados, Segundo Pruden

NewFilmmakers Los Angeles (NFMLA) shorts programme (8)

The Almost Adults, Rafaella Buzzi
Lobo: Christmas Special, Alan Maldonado
Musings, Rodrigo Carvalhedo
Earboy, Yohann Ko
When Big People Lie, Gianfranco Fernández-Ruiz
Más allá, Bettina López Mendoza
Haint, Jahmil Eady
Is It, Like, a Date?!?, Eliana Pipes

Palermo Proyecta (University of Palermo) (9)

Amparo, Lucas Fullone
Pipo, Romina Prialé Manrique
Un cordero de 100 kilos, Ignacio Paletta
Puentes y raíces, Lara Moreno
La carta, Francisco Sainz
La chica de Ipanema, Sebastián A. Devoto
Argiope, Sebastián A. Devoto and Santiago Villamarín
Las lindas nunca mueren, Lucila Ponce Palacios
Antequera, Emilia Rosario Muñoz Artigas

Our reading

A festival can cut its ticket price faster than it can change its habits. Mar del Plata has done the first: ARS5,000 against a reported ARS7,000, packs, free screenings, and an organiser claim that the pre-sale matched all of last year. FIAPF counts audience among its criteria, and the festival’s own benchmark is an average of about 60,000 spectators. That makes the closing admissions total, not the sold-out count in the first days, the figure that settles the Class A question.

Three of the four sold-out titles EFE names, Fjord, La bola negra and Rose, are festival winners from elsewhere; the fourth, Perfume, is an Argentine competition documentary on the guitarist María Gabriela Epumer. Four titles are a pattern, not a finding, but programmers weighing a similar price cut should watch which strand fills first. For sales agents and distributors, the prizes are the only trade signal here, since the programme lists no market.

The next evidence is the final admissions figure against that 60,000 benchmark, which we have not seen published, and the winners announced at the closing ceremony.