Writer
Lixue doesn’t ask herself if she likes Recife. She certainly doesn’t want to ask whether her new city likes her, after being sent there to live with her aunt. Aunt Lili owns an emporium of shops for Chinese import products and lives with her family and her workers on the 22nd floor of an exclusive apartment building. Much to the disapproval of the upper-class Brazilian landlords, who think the Chinese immigrants don’t belong in the tower. When Lixue disappears from the city, Ah arrives on the scene: the first tourist in Recife in years.
Director
Lixue doesn’t ask herself if she likes Recife. She certainly doesn’t want to ask whether her new city likes her, after being sent there to live with her aunt. Aunt Lili owns an emporium of shops for Chinese import products and lives with her family and her workers on the 22nd floor of an exclusive apartment building. Much to the disapproval of the upper-class Brazilian landlords, who think the Chinese immigrants don’t belong in the tower. When Lixue disappears from the city, Ah arrives on the scene: the first tourist in Recife in years.
Writer
I keep moving the videos from one place to another and look for a relationship, as if they were the material for a film. That's how I know it: we shoot images to tell a story with them. But none of these videos were shot with that intention.
Director
I keep moving the videos from one place to another and look for a relationship, as if they were the material for a film. That's how I know it: we shoot images to tell a story with them. But none of these videos were shot with that intention.
Screenplay
A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.
Director
A smart and innovative look at the possible futures of a young Chinese immigrant to Buenos Aires, told in the stilted language of an elementary Spanish textbook.
Director
Editor
Archival footage of Argentinian skiers is transposed into prompts for language exercises.
Producer
Archival footage of Argentinian skiers is transposed into prompts for language exercises.
Screenplay
Archival footage of Argentinian skiers is transposed into prompts for language exercises.
Director
Archival footage of Argentinian skiers is transposed into prompts for language exercises.
Director
An ecologist from Germany and her filmmaker daughter who lives in Argentina meet in Cuba to film a documentary on snails. The mother has worked for years helping her colleagues in Cuba protect the polymita picta snails, which are facing extinction. She has her own ideas on how to make the documentary and the daughter follows her lead. However, when the authorities ban the shooting, the course of the film changes: it is no longer about the snails, but they themselves become the protagonists.
Writer
Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.
Director
Ricardo Bar (22) is a young man who lives with his family in a little farm, in the border of Brazil and Argentina. There is mainly the jungle and the settlers, descendants of German immigrants. Ricardo doesn't want to inherit his father's land; he wants to become a pastor. Problems begin when Ricardo and the community tell the directors to stop shooting and leave. From that moment on Ricardo Bar tells two stories: one about a deal, the directors' offer to Ricardo in order to be able to shoot the film, and the other about Ricardo's life at this moment, his reaction to the director's offer, reenacted for the camera.
Editor
“The possibility of writing letters must have brought to the world a terrible disturbance of souls. Because it is a relationship with ghosts - and not only with the ghost of the recipient, but also with his own. Who is allowed to allow people to have correspondence relationships! ”Letter from Franz Kafka to Milena Jesenska, 1920.
Director
The couple from the countryside is siting there, and tells all about their love. The man talks about how he met her; the woman talks about how they split up. The countryside was keeping its most hidden secret.
