Fun in the Streets

Adiala

Her Name Is Flor Tere travels to sell her napkins with her daughter Flor, who loses one of her new shoes. Tere is forced to leave her alone for a moment, a fact that changes her life completely.

Take Me Home A group of strangers comes to a monastery in Utah for a month-long stay. The monastery has two guidelines: no people-pleasing and no private thoughts. They find themselves opening up to each other in ways they never could have imagined.

Best Dog India Follow a group of four-legged competitors and their humans as they prepare for a nationwide tournament and chase the pawsibility of becoming top dog.

Brisa Solar Mozambique 1974 - the European name of the capital Lourenço Marques was deleted and replaced by Maputo. Between the delicacy and the apocalyptic, Brisa Solar reveals the little secrets of an African city that was born from a modernist dream, which led a revolution and which today sees its cultural heritage and threatened by Chinese capitalism.

Al Morir el Sol

Rond por el placer... A place that seems out of time for everyday life, a long line of women waiting. And inside a room, three of them sitting... a cello piece transports them to their own experience of pleasure, body and eroticism. An exploration from a female perspective of the audiovisual and its ability to produce pleasure beyond narrative schemes. Female pleasure, liberation, feminism, gender, appropriation of the body, sexual freedom, women, cello, music, old age.

刻在石磨上的勋章

Los jotos no van al ciel... Santiago and Miguel are two teenagers who discover love for the first time.

The Screen The actors: a projector, a screen, a voice, an audience and a cinema. The locations: “here” and “there.” The situation: an audience is sitting in the dark in a cinema. The film begins when the projector is switched on. The projector is running empty, projecting only a bright white rectangle on the screen. The action begins when the voice asks the audience: “Are you there?” “Yes, you’re there,” the voice replies for us. “But one day you won’t be there, will you?” The voice isn’t “there.” Where is it? “Here.” Where? On the other side of the screen. The voice then asks us to project ourselves into a scenario, into the film of that inevitable eventuality we all prefer not to think about: the passage from one side of the screen to the other, from being “there” to “no longer being there,” from “here” to “there.” And what better place to do this than in a cinema?