José Homer Mora

The lives of three strangers in Santo Domingo, a girl from high society, a lonesome alcoholic cop and a drag queen cabaret performer; interwine on the eve of a hurricane fallowing the murder of a young poet and drug dealer

Un grupo de migrantes cubanos usa sus dispositivos celulares para registrar y transmitir por redes sociales momentos íntimos de su travesía. En este limbo migratorio, el director cubano Marcel Beltrán filma el paso de las horas en el campamento de la Pastoral Social Cáritas en Ciudad Panamá.

After having shared a common experience in Cuba, twelve filmmakers say goodbye to return to their countries and make a pact: to make a collective film that answers the questions: what does it mean to plagiarize images and how to do it in the distance? The mechanism is unusual: a director makes a short and sends it to the next director, who in turn makes his own short for the purpose of plagiarizing the one he received. And so the chain of plagiarism continues until it reaches the last one. Each one interprets in their own way what it means to plagiarize the received film. The first link in the chain is James Benning, one of the world's most patient filmmakers. His extensive plans are replicated in the following fragments. Disobedience moves the exercise away from literality and an exploration of the texture of the images begins. In its repetitive mechanism, we can see that cinema is, in addition to record of reality, an art of images and sound. (Santiago González Cragnolino)

Tolya, his brother and the captain live on a fishing ship, stranded in a port of Chimbote. The company is bankrupted, the ship hasn’t fished in eight weeks and the rest of the crew has returned to their countries. With no money and with practically no possibility of change in sight, Tolya tries to adapt to a new way of life on solid ground.