Alejandra Flechner

Comedia

Las corredoras

In 1959, Buenos Aires, Mabel, an employee of a ministry must travel to the field to get a contract signed by the rancher Antonovich. In that solitary house, guarded by a female motorist, she will live unexpected scenarios with intriguing characters that will change forever the course of her life.

Argentina 2001

This Spanish-language series chronicles the politics and events leading up to the most severe economic and social crisis in Argentina’s history since its return to democracy. At the center of a government in crisis, a political appointee works as a liaison between the current administration and opposition party figures who seek to rise to power.

Argentina 1985

In the 1980s, a team of lawyers takes on the heads of Argentina's bloody military dictatorship in a battle against odds and a race against time.

Chiquititas: Rincón de Luz

It tells the story of orphans forced to work on a farm run by Colonel Juan Ignacio de Cabreras and Marga. Belén, through the book recommended to her by Tok and the Wise Old Man, meets Alejo, who lived with a boy named Felipe. One of the girls, Camila, secretly met with Felipe every night. But the colonel was interested in a cave containing very expensive diamonds, until finally, the diamonds belong to Belén. It's a story full of magic and song.

Inseparables

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.

What Your Eyes Don't See

A murder in a house in Tigre triggers an investigation in the sphere of a political weekly. Crimes follow one another and the police can't solve the puzzle. A magazine journalist will try to get to the truth without knowing that more than one surprise awaits her.

Pigeon Drop

During Christmas dinner, an Argentinian family finds out that their millionaire uncle has died. His relatives speculate about his generous inheritance, but everything changes when a woman arrives at twelve and introduces herself as the deceased's wife. The head of the family, desperate about the possibility of losing everything, hides the body and forces the others to simulate a kidnapping. The plan is that, this way, the inheritance would be returned in the form of ransom payment. A bag of money appears and the plan seems infallible, but it falls into crisis when everyone wants to take their part.

The Lost Brother

Cetarti is drowning in nothingness. With no job or purpose, he spends his days inside watching documentaries on television, until one day he is informed that his mother and brother were gunned down. He travels from Buenos Aires to Lapachito, a decrepit town in the province of Chaco in northern Argentina to deal with their bodies and to get the life insurance money. There he meets Duarte, a sort of boss in the town and a friend of his mother's murderer who also kidnaps people for money. Cetarti's path will lead him to committing illegal acts to get his hands on the insurance money and to his involvement in Duarte's dark dealings, leading to an absurd and unexpected outcome.

La peli de Batato

Batato Barea, the “clown/intellectual/transvestite” was a genius of the underground scene who was able to represent all the nuances of a changing country with his own poetic radicalism, in such a unique way that it made him irreplaceable. That paradox is the basis for this documentary by Peter Pank and Goyo Anchou, two authors in search of a character and his legacy, but also his irreplaceable presence and instantaneous, evanescent theatricality, which challenged every mandate and convention.