Crab II 1984 ( 7)

Commissioner Leon (Miguel Angel Landa) investigates the murder of a woman in a population near the capital. The woman was raped before death and the case is complicated when his brother becomes the prime suspect, since it is a priest (Eduardo Serrano). Because of the implications that inquiries might have, Leon is pressured to keep the event as a "crab" (Cangrejo, or a unsolvable case), but he decides to comply with the law.

La máxima felicidad 1982

Two men and a woman are about to experience living as a threesome, this process brings out of them their fears, some moral barriers must be dismantled before the complex process of understanding and accepting each other can succeed.

TVenezuela 1969

An analysis of the history of television in Venezuela, subjected to economic power and market interests. The film explores the messages that television reproduces through its "anchors" and the much-criticised soap operas.

Lo que vendrá 1988 ( 5.8)

In a city of the too near future, a city designated for desolation, aggression, and political instability, Miguel Galvan (Hugo Soto) is shot accidentally during a demonstration. This time and space provides a back drop to an intriguing sequence of events where three characters try desperately to survive: the wounded Miguel, an antagonistic policeman (Juan Leyrado), and a foolish vigilante smartly acted by cult rock star Charly Garcia of Sui Generis and Serú Girán fame, who also composed the film's score.

There are Monsters in the Dark 2023 ( 10)

On a farm in the north of Portugal with a vineyard surrounded by a forest, where the past and present mix, a mother and a daughter, in a fight for reconciliation, try to overcome the anguish that still torments them. Will there be a change after this fight?

No More History Without Us N/A

Submerged in the sea of greenwashing that drowns them daily, two Amazonian filmmakers have decided to denounce, in this film manifesto, the entrails of the historical process of inventing and exploiting the forest as an inexhaustible Garden of Eden. Between Munich and Belém, they reveal how racism and prejudice, in Brazil and throughout the world, are still organised around the idea of a “savage demographic emptiness”, unable to speak for itself.

Valsas na Lua N/A