Editor
A strange character has been seen passing through the streets of Quito with a medical bag in hand; inside of him there is a medicine, but it is not what you imagine. It's Baltasar, a marijuana dealer who, after running out of harvest, turns to two eccentric old men. They offer you a new variety: the Ecuatorian Shetta. Baltasar begins to distribute it; but the day is complicated by the arrival of his little daughter, Catalina. Together they will go through chifas, doubts about UFOs and encounters with the police.
Editor
A world like ours, limited by language.
Editor
Miguel is a 17 year-old boy that sees the future as a distant horizon, immersed in his bubble of friends and a sketchbook full of sentimental poems. 'Saudade' is the portrait of a threshold: the end of high school, which we experience through Miguel. Set amidst the backdrop of the Ecuadorian economic crisis of 1999, 'Saudade' tackles notions of economic dislocation, friendship, family and young love while juxtaposing the crumbling of Miguel's life, against the crumbling of his country.
Editor
Elena comes back to Ecuador to help her father overcome his illness. She spends most of her time between drugs and alcohol. While visiting her grandpa in the Andes Elena gets involved in the fight for water access in an indigenous community. She gradually understands that among family secrets, corruption and dark perversions commitment and beauty can emerge.
Sound Director
Un “café del cine” es también un café para el cine. Desdeñando los automatismos de homenaje, las cartas encendidas y las citas enfáticas, este corto se dirige al corazón del cine sin declamarlo, como si una historia de imágenes confluyera grácilmente en ese café en el que parece conjurarse un universo. Los dos mejores países del mundo, Italia y Japón, se fusionan en una cafetería de Shinagawa gracias al leitmotiv de Nino Rota para La dolce vita, que en semejante contexto de altanería imperial japonesa suena a Joe Hisaishi (gran idea de relación de montaje nivel Histoire(s) du cinéma). La cámara de Sol Miraglia, alineada con la pureza de líneas del arte japonés –los planos están diseñados con tiralíneas–, repara en detalles casi imperceptibles de los parroquianos del lugar y de su integración en el espacio. Un clímax del humor lo-fi. Álvaro Arroba
