Daniel Márquez

A story of five voices passionate about the legendary national sport, characters who know a reality that the vast majority of fans are unaware of. Those who live the joys and sorrows in their football clubs on a daily basis. There is something that unifies all of them: the passion for their work and their team.

A story of five voices passionate about the legendary national sport, characters who know a reality that the vast majority of fans are unaware of. Those who live the joys and sorrows in their football clubs on a daily basis. There is something that unifies all of them: the passion for their work and their team.

1924: a group of men, amateur footballers of diverse professions and humble origins, set out on a journey towards the greatest adventure of their lives. They depart from Uruguay for Europe to disembark in Paris in its "Crazy Years" where, against all odds, Olympic glory and the amazement of the whole world awaited them. This feat would be the first of others to come in 1928 and 1930.

Un farmacéutico uruguayo y su madre viajan a Estados Unidos con la misión secreta de conseguir 50 toneladas de marihuana para abastecer al país. El jefe de esta disparatada misión es el presidente José Mujica.

While working at Uruguay's largest prison construction site, Miguel is leading a double life. When he realizes that he has become a prisoner of his own lies, Miguel struggles to find the courage to disclose the truth to his loved ones.

A boy and a dog try to survive in the middle of a battlefield.

This documentary rescues from oblivion an experience of cultural resistance during the Uruguayan dictatorship. Education conceived in another way: creation, freedom, expression. A film course for children organized by the Uruguayan Cinemateca. An experience that awakened vocations, or created them. Thirty years later, several referents of Uruguayan culture revive the experience that united them as children, and that forever marked a generation of creators.

This documentary rescues from oblivion an experience of cultural resistance during the Uruguayan dictatorship. Education conceived in another way: creation, freedom, expression. A film course for children organized by the Uruguayan Cinemateca. An experience that awakened vocations, or created them. Thirty years later, several referents of Uruguayan culture revive the experience that united them as children, and that forever marked a generation of creators.

Con 75 años, Chico Ferry es cuidacoches de una funeraria junto a su mujer. Pero los fines de semana altera su rutina y se transfigura en el cantante de una orquesta de música tropical que rememora tiempos en el que fue una estrella.

Through the memories and confessions of some of the most important names in Uruguayan music, the film brings back to life the stories of the songs that defined a country and that, in some cases, helped change history.

Después de un largo exilio en Venezuela, el cineasta Mario Handler vuelve a su país, Uruguay. Allí la dictadura sigue presente en los medios, en la opinión pública y en la memoria de la gente. El director siente que les debe algo a los compañeros de lucha, los tupamaros que no pudieron salir del país. Esta deuda se traduce en poesía, humor negro y conciencia, en una atmósfera aguda y precisa de esta época oscura del Uruguay.

One is a former police officer, bodyguard and hairdresser. Currently retired, he takes care of his extravagant and almost hundred-year-old illiterate mother. He writes poems and hopes to see them published one day. The other, a declared womanizer, workaholic, and leftist, was imprisoned during the dictatorship, runs a small grocery shop, and controls the life of his young second wife. Both were born in the Uruguayan hinterland during the Second World War, and share the same name as well as the fact that neither has wished to change it. The film is a tragicomic portrait of a country whose cultural diversity, its peculiar history and the character of its inhabitants allow the existence of exceptional and remarkable persons that depict a live picture of Uruguay, with its plurality and contradictions, its small and large history, without departing a single moment from irony or reflection.

One is a former police officer, bodyguard and hairdresser. Currently retired, he takes care of his extravagant and almost hundred-year-old illiterate mother. He writes poems and hopes to see them published one day. The other, a declared womanizer, workaholic, and leftist, was imprisoned during the dictatorship, runs a small grocery shop, and controls the life of his young second wife. Both were born in the Uruguayan hinterland during the Second World War, and share the same name as well as the fact that neither has wished to change it. The film is a tragicomic portrait of a country whose cultural diversity, its peculiar history and the character of its inhabitants allow the existence of exceptional and remarkable persons that depict a live picture of Uruguay, with its plurality and contradictions, its small and large history, without departing a single moment from irony or reflection.

Pamela, 34 años, es una mujer pequeña y tímida, que trabaja como cajera en un supermercado de Montevideo. Acude a un templo religioso dirigido por un pastor brasileño. Es adicta a los dulces. Visita regularmente a su madre autista. Un personaje anónimo. Una vida sin brillo. De pronto, el milagro ocurre. Mensajes de un destino maravilloso llegan a Pamela por vías insólitas : un misterioso cliente, un travesti amable y carismático, sueños, códigos de barra, señales reales e imaginarias. El Salvador del próximo milenio está en camino y ella, virgen como es, podría ser la Elegida para traerlo al mundo.

Este filme se centra en la vida de una familia y sus vecinos adolescentes que habitan en los llamados asentamientos del cinturón pobre de Montevideo, y explora además el sistema vigente en las cárceles juveniles de la ciudad. Mario Hendler expone -muchas veces filmando con una sola cámara discreta- la vida diaria de esas familias pobres y de los muchachos que serán los futuros huéspedes de esas prisiones., de las prostitutas adolescentes, de pequeños ladrones, de madres solteras y sus vidas miserables, que contrastan con las de las vecindades de clase media alta que habitan en sus alrededores.La historia recrea en parte la vida de una antigua prostituta, hoy abuela de criminales adolescentes, con una hija que es madre soltera y un hijo que es un delincuente habitual, quien termina sus dí­as en la cárcel ví­ctima de SIDA.

Este filme se centra en la vida de una familia y sus vecinos adolescentes que habitan en los llamados asentamientos del cinturón pobre de Montevideo, y explora además el sistema vigente en las cárceles juveniles de la ciudad. Mario Hendler expone -muchas veces filmando con una sola cámara discreta- la vida diaria de esas familias pobres y de los muchachos que serán los futuros huéspedes de esas prisiones., de las prostitutas adolescentes, de pequeños ladrones, de madres solteras y sus vidas miserables, que contrastan con las de las vecindades de clase media alta que habitan en sus alrededores.La historia recrea en parte la vida de una antigua prostituta, hoy abuela de criminales adolescentes, con una hija que es madre soltera y un hijo que es un delincuente habitual, quien termina sus dí­as en la cárcel ví­ctima de SIDA.

Four stories of normal Montevideans like you and me, but with one thing in common: bad luck. One figure, the master of the ceremony, ties stories together commenting on the failures of those four people, as he tries to make his fortune on a slot-machine.

Ten years after the Law of Expiration, this documentary analyses the historical background of Uruguay's recent past. It is a survey of the controversy stirred up in society by the fact that, thanks to this law, the armed forces personnel and police who committed crimes under the dictatorship (1973-1985) have gone unpunished, and it examines the scars the authoritarian regime left on a section of the population.

Ten years after the Law of Expiration, this documentary analyses the historical background of Uruguay's recent past. It is a survey of the controversy stirred up in society by the fact that, thanks to this law, the armed forces personnel and police who committed crimes under the dictatorship (1973-1985) have gone unpunished, and it examines the scars the authoritarian regime left on a section of the population.

This documentary examines sexuality as seen by women and men born into Catholic families and educated at Catholic schools. These people talk about the Church's refusal to face reality and how this short-sightedness leads to lies, feelings of guilt, a block on eroticism, unwanted pregnancies, deaths resulting from illegal abortions, and ignorance about AIDS that in fact helps the disease to spread.

Idea approaches the figure of Idea Vilariño, considered as one of the greatest Spanish-language female poets. Her literary work, especially her poetry, is acclaimed by critics and public alike, a rare case in the Uruguayan culture scene. With her own testimony, pictures, poems, songs and archive footage, this documentary offers an in-depth look at the essence of Idea Vilariño's poetic universe in a frank adherence to her literary and human posture. Her childhood, her ghosts, her desolate vision of a godless world, the stormy burden of suffering from her relationship with Juan Carlos Onetti and the commitment assumed with the issues of her time define the various facets of this woman.

The engineer Eladio Dieste, the most innovative architect in Uruguay, is interviewed by the architect Mariano Arana. He talks about the ethical responsibility involved in creating, the idea that the things that surround us should be beautiful, and how important it is to use our intelligence and creativity to produce original responses and generate our own ways of thinking.

This is a documentary about the life and work of Atahualpa del Cioppo, one of the outstanding figures in Uruguayan and Latin American theatre. We are shown his life today, his old friends and his passion for the theatre, against the backdrop of his home, the city of Montevideo.

In the east of Uruguay there is a little-known region of vast wetlands in a beautiful natural setting which is a sanctuary for thousands of species of flora and fauna. Although it is officially protected, it is under threat from rice producers who are draining parts of the area.

A long interview with Uruguay's greatest writer, in Madrid a few months before his death. From his bed, Onetti talks about literature, creativity, and his origins.

A long interview with Uruguay's greatest writer, in Madrid a few months before his death. From his bed, Onetti talks about literature, creativity, and his origins.

The subject is women and their participation in politics, and this is used as a pretext for a humorous, provocative, female perspective on official (male) discourse and the almost nonexistent participation of women in Uruguayan politics.

The subject is women and their participation in politics, and this is used as a pretext for a humorous, provocative, female perspective on official (male) discourse and the almost nonexistent participation of women in Uruguayan politics.

Women in an isolated backwater in the countryside tell the story of how they live, and talk about their work in a cooperative that processes wool to make good quality clothing.

Women in an isolated backwater in the countryside tell the story of how they live, and talk about their work in a cooperative that processes wool to make good quality clothing.

After the end of the dictatorship, Uruguay was faced with the unresolved problem of what to do with the past. In this documentary the CEMA camera team roam the city streets and find out what Montevideans think about bringing armed forces personnel to justice. This tour reveals a climate of scepticism, a climate of fear and suspicion, but also a will and a desire that justice must be done.

This is an account of the years of the dictatorship in Uruguay, told with archive material and interviews with witnesses who remain anonymous. There is a focus on the 1984 elections and the euphoric festivities afterwards, as the people celebrated not so much the winner of the election as the end of the dictatorship and the start of the campaign for truth and justice.