MADRID — Two films produced by Daniel Burman and Diego Dubcovsky’s BD Cine — “Musica en espera” and “Motivos para no enamorarse” — were standouts among newer pics at the 3rd Argencine, a showcase for Argentine pics that ran June 12-19 in Madrid.Arguably Madrid’s finest film festival, Argencine’s auds rose 20% compared with the 2nd edition held in 2007, said co-organizer Cesar Romero. It also saw business: off the back of the event, top Spanish indie distrib Golem is in talks to pick up “Mundo alas,” a music docu about a tour by rock-folk singer-guitarist Leon Gieco, backed by disabled musicians. Dionet is negotiating to take Spain on “The Artist,” an art world satire from Costa Films and Istituto Luce, which was a hit at October’s Rome Film Festival. Spanish distrib Festival Films will play off an upbeat response in Madrid to Juan Taratuto’s Argentine B.O. mega-hit “A Boyfriend for My Wife” to open the film July 10 on around 60 copies. As much as the deals, it was the new face of Argentine filmmaking that really struck home at Argencine. Emerging late last decade, Argentina’s new wave often broke through with hallmark minimalist movies. But Argentina’s film gamut has always been much wider: Argencine underscored the breadth and mainstream heft of Argentine filmmaking. Rather than quirky festival fare, the dominant genre at Argencine were crowdpleasing comedies, such as “Musica,” a contempo comedy featuring the reliable Diego Peretti, who received a tribute at Argencine, and “Motivos,” a gentle romantic comedy about an absent-minded twentysomething who falls for an older, embittered man. “Argencine didn’t just show Argentine cinema. It attempted to pinpoint new trends, artistic and industrial,” said Carlos Morelli, who curated Argencine for Argentina’s Incaa film institute, Argencine’s co-organizer with Madrid regional government. For the first time, Argencine hosted a docu feature strand. Fiction films ranged from the more radical (Paula de Luque’s “El vestido,” Pablo Fendrik’s “La sangre brota”), to classic arthouse (Paula Hernandez’s “Lluvia”), or straight-arrow entertainment, such as “Lovely Loneliness,” one of the fest’s biggest aud draws. If Argencine had true stars, however, they were its screenwriters and thesps. “Motivos” was written with telling economy. Valeria Bertuccelli and Ines Efron are standouts in “Boyfriend” and “Lovely,” respectively. In Valeria Sartori’s “Le quiero y espero,” developed at a First Team workshop for Argentina’s Enerc National Film School, three acting students flesh out a 300-word script into a 25-minute, single-shot short. The result suggests strength in depth — as well as breadth — for Argentine filmmaking.