We delve into the life of Basilicia, a teenage daughter of Ukrainian immigrants who becomes a symbol of the fight for the rights of rural families in Misiones, Argentina.
In 1991, on the outskirts of Tenja, Josip Reihl Kir, the chief of the Osijek Police Department and a man dedicated to negotiations and avoding war, was assassinated. Told through the statements of a few witnesses and archive materials from the era, this is a story about the last few months of his life, in the dawn of the bloodthirsty Croatian-Serbian war, which Kir had been trying hard to prevent.
Sometimes one, orphaned of one's own lungs, feels that one is drowning. One suddenly remembers the body, breathes again, and begins to laugh. To laugh very hard. To run around the corners of the world breathing and laughing. Yulieth talks to her mother. She dances. She floats on the water. She laughs.
Under a full sun that turns the wide pastures and woods around a house into an idyllic playground, a boy plays with his father to be a man. In the midst of the greenery, the aggressiveness is heartwarming: the father teaches him boxing and with it, the responsibility and restraint that come with mastering one's own body; the boy listens to rap and caresses chicks. Masculinity and childhood are documented in a contradictory, sweet and incautious nature. Seen in this light, the images of upbringing can convince us: love and virtue are built and transmitted in small lessons.
A filmmaker investigates three cases of violence in Colombia, including a murder occurring near his mother’s home. The narrative follows his attempts to reconstruct these lost lives through archival research and the physical traces left in the landscape. This personal inquiry expands into a broader study of how a nation tracks its missing citizens, eventually mapping the overlap between individual family grief and official state processes of forensic recovery.
An essay on prostitution constructed in two layers: four interviews and the interventions of four contemporary dance choreographers, who explore its formal dimension through movement.
Forensic anthropologists use laser technology to search for clandestine graves of the dictatorship in the scrubland. Valeria, the daughter of disappeared people, coordinates the search. Otilia, Mother of Plaza de Mayo, awaits news of the past.
After surviving the massacre in which the police killed ten landless workers in Pará’s Amazon region, Fernando dos Santos becomes the only survivor to reveal his identity and testify. Still shaken, he recounts how the police murdered his boyfriend and tortured his companions, yet the film portrays him as far more than a victim: a courageous man who left the city’s comfort to chase the dream of owning land, using humor and intelligence to endure the solitude of being a gay man in rural Brazil. Alongside him is José Vargas, an idealistic lawyer defending the survivors and their right to justice. As he faces threats and isolation, the film exposes the human cost of truth, resilience, and the struggle for dignity in a land scarred by violence and inequality.