John Battsek

Marcia wakes up one day with the unnerving feeling that her husband has disappeared. She decides to take matters into her own hands to find out his whereabouts.

Jad works as an architect, and he has been busy for two years in a huge project in hope that he will become manager of this project. Jad becomes frustrated when the company director brings in his relative Noor from Canada to take over the project's management, and he becomes merely her assistant. Jad becomes confused between his hatred for the company director and his admiration for his new manager. —Anonymous

Several young daughters of rich industrialists examine in an equally intangible and compelling way the physical and spiritual aspects of a cultural recession. Kékszakállú is an unconventional portrayal of several young women witnessed in immersive yet indeterminate states: within their bodies, among their friends and lovers, and ultimately in a culture of economic and spiritual recession. The torpor of boredom and privilege is undercut by the vicissitudes of Argentina's economic malaise, forcing the offspring of a vanishing upper class to extricate themselves from the props of familial privilege. The film presents a documentary-like exposure of the quotidian while extending possibilities for redemption among this brood of the weary. Obliquely inspired by Bela Bartok's sole opera, Kékszakállú radically transposes the portent of Bluebeard's Castle into something far less recognizable: a tale of generational inertia, situated between the alternating and precisely rendered tableaux of work and repose in Buenos Aires and Punta del Este. —Venice Film Festival

Veterinarian Nacho confronts the women who have meant something to him in his life. Before him appear his mistress, his mother, his psychiatrist, his ex-girlfriend, and his sister-in-law. He has pending issues with all of them and must face them to solve them. —Lola AC