Spanish

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High school can be horrible, especially when your classmates make you feel like a freak. But sometimes that pain only means that finding the person who gets you is all the sweeter. Loner Sara is in her last year of high school and is miserable. She is shunned by the girls in her class for being “weird” and spends her lunches smoking in a hiding place behind the school. That is, until the new girl, Andrea, invades her hideout one day. Andrea and Sara fall for each other instantly, bonding over their love of books and solitude. Things might actually start to look up for Sara, but then the world intrudes and threatens their happiness. Can their love survive homophobic classmates and parents?Read More »

Alvarez’ longest documentary examination of the Cuban Revolution, this contains exceptional interviews with Fidel, Raúl, Almeida, Vilma, Haydee, Celia and Faustino Perez, among other key players in the Revolution.Read More »

This is the fourth in a series of seven projected video essays (four of which were completed) that Ruiz was commissioned to make in 2002-2003 for use among Chilean community organizations and broadcast on public television. Cofralandes, the head-title for each of the segments of Ruiz’s series, is taken from a song by Violeta Parra where it evokes the “land of milk and honey,” the “land of Cockayne,” the “green world” imagined by Gonzalo in The Tempest.Read More »

After seven years of dictatorship, a remote village in Argentina formally becomes a town with the birth of its 501st inhabitant. Hidalgo, a slick and ingratiating scion, is eager for the new post of mayor. Smelling a rat, Baldomero (a beloved natural leader with a habitually tapping digit) opposes him with his own candidacy—and soon turns up dead. His shopkeeper brother vows revenge, keeping Baldomero’s severed finger in a jar, initially as a remembrance, but eventually as an absurd icon of leadership that spurs the town to defy crooked elections, interloping powers and Hidalgo to go its own way. Based on real events, this charming dramatic comedy pokes fun at small town ways while celebrating true democratic values.Read More »

This is the second in a series of seven projected video essays that Ruiz was commissioned to make in 2002-2003 for use among Chilean community organizations and broadcast on public television. Cofralandes, the head-title for each of the segments of Ruiz’s series, is taken from a song by Violeta Parra where it evokes the “land of milk and honey,” the “land of Cockayne,” the “green world” imagined by Gonzalo in The Tempest.Read More »

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For more than twenty years the films of Ruiz have led us into the fields of uninhibited delirium, free associations, and intricate games of collage. Ruiz, paying no heed to conventions, leads his audience into a labyrinth without a map, without warning and without an Ariadne allowed to help them retrace their steps. “Regulars only” seems to be the imperative which thrusts us into his creative world. However, it is a playful attitude that he proposes. Labyrinth, yes, but devouring monster, no — except the one we assemble ourselves from the fragments of mirrors that Ruiz has left scattered on the road. These fragments, their selection and random order, is indeed the art of Ruiz.Read More »

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Ruiz is no lover of documentary. But the opportunity to make an essay-film offering his ‘observations of Chile’ produced in him a mammoth work, recently shown in seven parts on Chilean television. Shooting with a digital camera, Ruiz refinds the mobility and mercuriality of his early Chilean work. But he is also able to explore anew the transmutation of reality into fiction: Chile becomes the imaginary country of Cofralandes, ‘a popular version of paradise, a folkloric paradise. In the beginning there is a song about a place where poor people can live without poverty, and they can eat everything – even the houses. The rivers are made of wine.’Read More »

imdb says:
In the beginning of the 70s thousand of spaniards women immigrated to Paris to work as house maids. This is the story of some of them.Read More »

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In this preternaturally assured feature debut by Carlos Reygadas, a man (Alejandro Ferretis) travels from Mexico City to an isolated village to commit suicide; once there, however, he meets a pious elderly woman (Magdalena Flores) whose quiet humanity incites a reawakening of his desires. Recruiting a cast of nonactors and filming in sublime 16 mm CinemaScope, Reygadas explores the harsh beauty of the Mexican country­side with earthy tactility, conjuring a psychic landscape where religion mingles with sex, life coexists with death, and the animal and spiritual sides of human experience become indistinguishable. A work of soaring ambition and startling visual poetry, Japón is an existential journey through uncharted cinematic territory that established the singular voice of its director.Read More »