Alfredo
Mario, an exemplary man, lives in a village on the Galician coast. In the old people’s home, where he works as a nurse, everyone appreciates him. When the best known narco in the area, Antonio Padín, recently released from prison, enters the residence, Mario tries to make Antonio feel at home. Now, Padín's two sons, Kike and Toño, are in charge of the family business. The failure of an operation will put Kike in jail and cause them to owe a large debt to a Colombian supplier. Toño will turn to the nurse to try to convince his father to assume the debt. But Mario has his own plans.
The Protesting Customer
Food, glorious food! Some of the most sumptuous and involving films revolve around that most common of acts: eating. 18 MEALS is an omnibus film of criss-crossing stories divided into three segments; breakfast, lunch and dinner. Jorge Coira's debut feature, shot over nine days in Santiago de Compostela has enough tasty portions to please audiences. Amongst Coira's expansive ensemble are aging street musician Edu, a pair awaking from a one-night stand, a businessman visiting his closeted homosexual brother and a lonely housewife, Sol. Victor and Sol are two of 18 MEALS' most fascinating characters as they each hide something - his sexuality, her depression - from those around them. Best of all is Pedro Alsono as Vladimir, a local celebrity actor who makes a meal for a mystery woman who never arrives. Who hasn't gone to a lot of trouble to do something extra special for someone just to have it go unappreciated?
Ciego ONCE
What should you do if you are young, handsome but your life is terribly boring? Of course to die! Who can help you? Of course, two your best friends. But what if assisted suicide becomes an original way to earn? When a business plan comes to mind to the three adventurers they are no longer up to the death!
Fotógrafo
The Night of the brother ("La Noche del Hermano") is a chiaroscuro tale in which the characters' not always explicit feelings cover the gamut from darkness to light through the thin line between love and fear. Because the events of life are often less astonishing than the way they are shown to us.
