
“Don’t end up alone like I did.” This plea expressed by her grandmother before passing, haunts Tatiana, a single, 40-year-old documentary filmmaker. Filled with questions about what it means to “not end up alone,” Tatiana explores her grandma Teresa’s life: an imposing woman who owned an iconic movie theater, divorced three times and challenged the Dominican social norms of her era. The filmmaker embarks on a journey through family archives, old films and hundreds of letters, constructing —or trying to deconstruct— a story about love, expectations and solitude.
Teresa Pichardo (voice)
Herself
Himself
Himself
Herself
Himself
Herself

“Don’t end up alone like I did.” This plea expressed by her grandmother before passing, haunts Tatiana, a single, 40-year-old documentary filmmaker. Filled with questions about what it means to “not end up alone,” Tatiana explores her grandma Teresa’s life: an imposing woman who owned an iconic movie theater, divorced three times and challenged the Dominican social norms of her era. The filmmaker embarks on a journey through family archives, old films and hundreds of letters, constructing —or trying to deconstruct— a story about love, expectations and solitude.
2025-04-07
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Questioning what it means to “not end up alone,” a single 40-year-old filmmaker explores the life of her grandmother, who challenged her era’s social norms.
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0.0Spanning over 70 years, two women recount their experiences growing up in Colombia and immigrating to Canada. Intersecting with key moments in Colombian history, Vanishing Points is a polyphonic composition of mirrors, labyrinths, dreams, and nightmares that question the idea of perspective and the linearity of history and time.
0.0Avelino Chillarón was 12 or 13 years old when he realized that his surnames and those of his cousins didn't match, so he decided to ask his uncle. This is how he learned that, although his father and aunt were siblings, they didn't have the same father, so he and his cousins didn't share the same grandfather. In this way, Avelino realized that there was a part of his family he didn't know. The protagonist of this story feels partially mutilated from a part of his family history, a part that was taken away from him by a regime that established, over the years, a long period of widespread social amnesia about a series of corpses and missing persons throughout the spanish geography.
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6.7A deep investigation, in the way of a poetic essay, on one of the main Latin American movements in cinema, analyzed via the thoughts of its main authors, who invented, in the early 1960s, a new way of making movies in Brazil, with a political attitude, always near to people's problems, that combined art and revolution.
7.1Filmmaker Lawrence Shapiro discusses voice-over acting with the talented people behind the characters.
7.3A journey into the labyrinthine heart of ideology, which shapes and justifies both collective and personal beliefs and practices: with an infectious zeal and voracious appetite for popular culture, Slovenian philosopher and psychoanalyst Slavoj Žižek analyzes several of the most important films in the history of cinema to explain how cinematic narrative helps to reinforce prevailing ethics and political ideas.
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0.0Roberto tries to interview his grandmother to find the story behind a family secret. There are two relatives whose faces are crossed out in all the pictures and nobody talks about them.
0.0The story of a group of actresses who, in the Spain of the seventies, and in the midst of the democratic Transition, decided to appear nude in the films of that time of radical political change, defying the rigid and deeply rooted social rules.
4.0Documentary film about early years of Russian cinema: its first directors, cameramen, producers and actors. Includes rare fragments of pre-revolutionary feature films, newsreels and Starewicz's animation.
7.8A portrait of the famous French actress Fanny Ardant, who has worked with great figures of cinema such as Agnès Varda, Alain Resnais, Michelangelo Antonioni, Sydney Pollack and, above all, François Truffaut (1932-84), with whom she had a sentimental relationship and whose death marked the rest of her life.