How much time does a person need to cross a limit? To go trough from sanity to insanity, from poorness to richness, from love to hate? Some people spend their whole life, some other a few seconds. And some other can never get it. Our character embarks on an unconscious travel from legality to illegality. Law protects to people. But sometimes it blurs in the suburbs of Gran Buenos Aires.

Caño Dorado is the story of a young suburban man who grazes whit crime. Honor and crime live together. The honor lives with the crime. The respect for The Mother and The Father is unconditional. The family does not enter into negociations. But everything else does. Caño dorado is a trip to the limbo between the well and the wrong. It's a trip of fiction and documentary with real scenes scarcely interfered by characters, colours and situations that get confused in that limit between reality and fiction. Caño dorado is a picture about the argentinian suburban man that has to devise himself everyday to subsist. He devises his love, his work, his passion, his faith.

The reality is rough, hard, in this situation, faith becomes in the gear of life. Images of Saints and virgins are all mixed in a large frame. Fire, water and blood, mix of colours and shapes, where the love for Clara is the shelter of Panceta, our main character, from his glance the movie is told. A frame of red, light blue and white where there are no good or bad ones. They are all mixed as a painting of El Bosco, where everyone makes what they can to survive.
Caño is an invitation to this surrealist painting about an argentinian reality that is known by a few ones.
Caño dorado is the uncontrolled trip of Panceta to the other side of the law.

PRESS:

A key figure in the birth and height of the Argentine rock scene, the stature of Miguel Abuelo as an artist has been often dismissed in favor of the most trivial aspects of his complex personality. This documentary sets the record straight and reveals the genius behind the writer of "Diana divaga" and "Tema en flú sobre el planeta", through a huge and strange archive that includes generous dosages of Abuelo's voice singing or talking about himself. His own son, Gato Azul Peralta, officiates as the tour guide through the night of Buenos Aires, where we can see the deep traces left by the poet and singer in his run through this world. Gato Azul also talks to some of the many interviewees (including other rock legends like Spinetta and Calamaro), specially Gustavo Bazterrica, a huge and intense character worth hearing and watching. His voice, the rest of the voices, the songs both on as a solo artist and with the Abuelos de la Nada, all leave us with the feeling that Miguel Abuelo's masterpiece was none other than his own life.

Dora isn't young anymore. She lives alone or almost in the neighbourhood of Agronomía. Dora is all remembers. An old car, a piano and savings from past years.
Her life goes between the pang for the absence and the desesperation for the game. During the her life is sinous, but in the nights an elegant rutine cheers her up. During the day she's alone, during the night she's Dora, the gambler.

Gaze of the director:
Dora, the gambler is the description of the dark side of a compulsive gambler. We all can see lots of gambler women at the hippodromes and casinos. There they are, smiling at their victories and crying at their defeats.
But if we look closer at these people, if we pursue them and we hide as an insect in their tobacco smelly clothes, we will spy at their miseries and understand their weaknesses.

In a country that has been broken down by poverty, Pablo and Mario are best friends and local thieves. Although they come from very different backgrounds, they help each other out by committing petty crimes, that help Pablo to support his family, and Mario to become independent from his own. In a twist of fate, and maybe for some innocence, they get involved in a kidnapping that goes sour. This tragedy triggers and unmasks a series of events between them the romance between Mario and Julieta (Pablo's sister), this fact finally confront them and unties their truly feelings of love and hate, proving their real loyalty and integrity.

PRESS:

Argentina has hit Sundance's dramatic world cinema competition big this year, and "Palermo Hollywood" is one of two impressive features. The film is a Scorsese-inspired tour of the country's poor economic conditions, which "Live-in Maid" addresses in an entirely different manner, and the culture of crime that has become part of the characters' identity. It has the same frenetic visual ambition—if not quite the same level of success—of another South American success, City of God from Brazil. It thrusts the audience into the end of the story as a young man races through the street on a motorcycle, has an accident and eventually ends up in a nice-looking house with a gun to another man's head. While it doesn't always live up to its promise, director Eduardo Pinto tries an ambitious range of techniques as he uses handheld cameras to tell the story of two friends from different classes who live in the underworld of Buenos Aires, in the neighborhood of Palermo Viejo, which is known for its restaurants and nightclubs, which are more popular to outsiders trying to be hip than to the neighborhood's residents who can't afford them.

The film centers around the frivolous criminals Pablo (Matias Desiderio) and Mario (Brian Maya, who also co-wrote the screenplay), who spend more time clubbing and hanging out on the street corner with their friends than looting buildings. In the film they're often together as close friends, but their lives, as the opening flash-forward suggests, are destined to separate. Pablo grew up in a poor family, is an irresponsible father and an unreliable husband. Mario, known as "The Russian," is a hood popular for always being generous with his money—because he actually has plenty. His family is wealthy and his crime plays as a rebellion against his father rather than a source of income. Whatever bond they have, Mario's wealth his father's connections eternally separate him from his friend. Pablo is stuck there, Mario is there on a lark.

Pinto paints a series of interesting relationships through a haze of drugs, partying, sex and crime. Some sequences become a little more self-indulgent than needed, but his ambition is admirable. Unfortunately, the final shots feel a bit over-the-top and exchange honesty for a cheap moral. But before it gets there, Palermo Hollywood is an interesting ride.