Nelson García

Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the seventies, in the midst of the oil boom, with an old 16mm Bolex video camera, and began a journey through the Ecuadorian jungle, collecting the visual testimony of a life that is dying. This documentary brings together the director's permanent concerns: culture and nature wasted by extractivism. A conversation between two directors about the creation of memory through cinema.

Noelí, una joven dominicana, viaja todas las tardes a las playas de las Terrenas. Allí, junto con su pareja, busca la manera de sacar ventaja y ganar algunos dólares a costa de alguno de los centenares de turistas que rondan el lugar. Entre sus clientes ocasionales, Noelí mantiene uno fijo: Anne, una francesa de edad madura que con el paso del tiempo ha encontrado en la isla un refugio ideal donde pasar sus últimos años. El novio de Noelí se hace pasar por su hermano y elabora un plan en el que Noelí viaje a París con la francesa y le envíe dinero todos los meses. Para Noelí, la relación con Anne se basa primordialmente en la conveniencia, aunque los sentimientos se tornan ambiguos a medida que el tiempo de partir se avecina.

Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?

Bernardo lives under the shadow of his mother. Kurt proposes to him to rob Bernardo's bank to buy the Third Reich's currency. On the same day that Bernardo does it, Hitler's regime falls and its currency becomes worthless.

En el Nombre de la Hija tells the story of a nine-year old girl whose name is in dispute. Manuela has been named alter her socialist-atheist father, but her catholic-conservative grandmother insists she should carry the name the first daughters of the family have carried for generations: Dolores. The story takes place in a Valley in the Ecuadorian Andes, during the summer of 1976. Manuela and her little brother, Camilo, are spending vacations with their cousins and grandparents at the family's farmhouse. Eager to defend her father's ideas, Manuela confronts her cousins and grandparents, but an unexpected encounter leads her to confront herself instead. Hidden in the family's abandoned library, schizophrenic uncle Felipe is devoted to setting words free from the constraints of dogmas. His wisdom sets Manuela free from her own dogmas and forever changes her relationship with words, including her own name.

El mercado de las Zuquillo está tan deteriorado que un buen día se derrumba y deja a las chicas sin trabajo cambiando drásticamente su vida. Charo decide emigrar a los Estados Unidos, Lucha descubre a su amado Johnny con otra, Nacha y Meche, concluyen que debe irse del país acompañando a Charo. De esta manera se inicia “Zuquillo exprés”, cuando las cuatro mujeres cruzan la frontera guiadas por un coyote.

Documentary about ecuadorian writer Jorge Enrique Adoum.

The documentary registers the reaction of the inhabitant the communities of Imbabura, Zamora, Chinchipe and others Ecuadorian provinces under the influence of mining. The testimonies of the leaders and the protagonists tell the facts that are at the center of this story.

The life and work of Gabriel García Moreno, one of the most controversial presidents in the political life of Ecuador. For some he is a saint but for others he is a devil.

Ocho historias que van desde la historia de una mujer que se despierta en el apartamento de un desconocido a la reunión de dos amantes del subterráneo.

Tristeza (Cecilia Vallejo) y Esperanza (Tania Martínez) son dos veinteañeras que mientras viajan por parajes poco conocidos de las montañas y la costa de Ecuador realizarán al mismo tiempo un viaje de autodescubrimiento de sí mismas.

Juan dreams to escape from his country and its problems.

An ordinary day in the life of a community on the Santa Elena Peninsula, on the Ecuadorian coast. The many characters in this documentary –simple people, heir to an ancient culture– present the true protagonist: death.

In the Andes is the closest city to the Sun. Here, groups of power conspire to bring chaos to the population, using biological weapons, mental manipulation, quarantines and black magic. Luca and Lulu face Mos Antor and his supernatural powers. Both must deter the attacks and challenge a plot that drives humanity into a dystopian future.