One morning, Jessica Holland, a Scottish orchid farmer visiting her sister in Bogotá, is woken by a loud ‘bang’. This haunting sound dispels her sleep for days, calling into question her identity and guiding her from recording studios to secluded jungle villages in an attempt to find its source.
Ras is a graffiti artist from the city of Cali who works in construction, he works during the day and paints walls at night. One day he is caught stealing cans of paint from the construction site where he works, for which he is fired. With no money, he will look for Calvin, another popular urban artist. Both will circulate through the streets without a fixed destination, spreading their art to every corner.
Alfonso is an old farmer who has returned home to tend to his son, who is gravely ill. He rediscovers his old house, where the woman who was once his wife still lives, with his daughter-in-law and grandson. The landscape that awaits him resembles a wasteland. Vast sugar cane plantations surround the house, producing perpetual clouds of ash. 17 years after abandoning them, Alfonso tries to fit back in and save his family.
18-year-old Jesús lives with his stern, somewhat unaffectionate father in Santiago, Chile. When not doing drugs, having casual sex or simply slouching in front of the TV, Jesús and his friends perform in a K-pop boyband. But his routine is thrown into chaos one evening when he and his drunken posse viciously assault a young gay man and leave him for dead. It’s an act that propels Jesús into a profound moral crisis which have severe consequences.
In a timeless México where women are disappearing, a girl helps her dad, a tormented addict, to take care of an abandoned baseball camp where the narcos gather to play.
Three women of vastly differing ages and origins cope with life in three distinct regions of Peru. Eva, a young girl from the lush tropics of the Amazonian jungle, experiences a sexual awakening by way of a forbidden relationship with her uncle. Victoria, a wealthy socialite from Lima, suffers a terrible secret that renders her inner life as gray and melancholic as the city surrounding her. Zoraida, an elderly peasant from a destitute village in the Andean Mountains, confronts her worst fears in the wake of the unexpected return of her estranged son. Three unconnected regions, three introverted women, three stories of discovery shaped by three different geographies, societies and climates of the same fragmented country.
A man in chains, a young man who dreams of being part of something, to become a militant for an armed group who must wield a cruelty in which he may not believe in. The characters, each voluntary or involuntary part of a mechanism that overcomes them, reveal their greatness or misery in the “minimum” tasks that they perform to survive. From that sometimes morbid poetry of the everyday and the irrefutable truth of the details, we see a country whose social body is sick and injured.
7 year old Matías returns home from a friend’s birthday party to find his mother, Laura, unconscious on the floor. When she recovers her senses they decide to leave home and rush to a shelter for abused women where they spend 48 hours before Laura decides to rebuild her life somewhere else. Through the eyes of Matías we will discover their escape in a city where everything Matías once knew feels dangerous and foreign until Laura finds a secure place to raise her son.
Tomas, an Afro-Colombian teenager who fled the country's Pacific coast pushed out by the war, faces the difficulties of growing up in a city if exclusion and racism. When Jairo, his younger brother and closest friend disappears, Tomas plunges in the streets of the city. His search becomes an initiatory journey that compels him to face his past and to leave aside the influence of his is brothers in order to find his own identity. Through this journey, Tomas reveals a unique perspective of a vibrant and unstable city that, like Tomas, stands on the threshold between what once was and what might be.
An extraordinary and necessary essay film constructed entirely out of a vast archive of news footage from the ‘80s and ‘90s, OUR MOVIE (NUESTRA PELICULA) is a response to the violent history that imprinted itself on the director in her formative years in Colombia. Images of blood spatters, bullet holes, coffins, and Colombians marching in the streets become an abstract net of quotidian sorrow.
Marcos, a withdrawn park ranger, sees the fragile balance achieved in his isolation collapse with the arrival of a couple of biologists investigating strange bird deaths. Unfortunately, the desire and envy for normality represented by the couple awaken the monster he has been trying to control. His face, his legs, and his arms don’t belong to him and as the desperation becomes incontrollable, he can only see one way out: mutilation.
Two humble fishermen who live in a forgotten hamlet near to the Cauca river, discovered that a dead body had been tangled in their cast net. Failing to give notice to the authorities, they decided that it would be more humane to bury him, so they start dragging the dead body towards the jungle.
