George Pal: Un Marciano De Hollywood En Argentina(2023)

Nuevo / Otro Cine Español - Un Lugar En El Cine(es)

Greek Theo Angelopoulos traveling from Athens to Ostia, the Roman beach where Pasolini was killed. Far from there, in a Spanish train station, Víctor Erice wanders in an interview about the film resistance. And in Italy, Tonino Guerra, Ninetto Davoli and Nico Naldini lend his voice to the missing Passolini to close a historic triangle on film and solitude.

Cairo Jazzman(en)

A documentary about Cairo Jazz Festival's Amr Salah and his struggle every year to bring people and arts together in a country where 70% of people are under 30 and the Officials do not care about culture too much.

Furias(es)

Recupera tu pelo(es)

The Juniors y La Fórmula Imperial(es)

7 multimillionaire boys who venture into planning a social revolution, generated by video scandals and medical experiments. Its aim is to generate a change in the world's ideology and its problems with discrimination, sexting, cyber-bullying, their fathers, the conflict between social classes and the confrontation with their domestic girls. The film tells the life of Austin, a boy with absent and mysterious parents, who has a risky life changing the scientific and biological patterns in the world. The plot revolves around Austin Ibargüengoitia's obsessive intention and his close relationship with his best friends and money, creating a movement called "The Distortionist Movement", this movement tries to alter conventional social norms, its goal: to create a higher economic class than the existing one, but to reveal it, these seven teenage billionaires, set out to prove their loyalty by doing a task that will shake the world, in doing so they will reveal a school that has existed in ...

Anastatica(es)

Caos, Cámara, ¡Acción!(es)

Zheimer(es)

One morning, an elderly woman grappling with Alzheimer’s awakens, gazes into the mirror, and, confronted with a stranger’s reflection, embarks on a poignant quest to rediscover the face she has carried through a lifetime, now altered overnight.

The Elephant and The Bicycle(es)

After two years in jail, El Isleño returns to the island of La Fe, ruled by the dictator Francisco Gavilán. He arrives with a cinematograph and exhibits "Robin Hood" to the people. The next day the bridge that communicates La Fe to the mainland has been destroyed, and the people plan to overthrow Gavilán.

LE BLUE LE BLUE(es)

My birth(es)

Follow the epic journey of a couple on the day of the birth of their firstborn. Full of action, emotion, tragedy and ... aliens

A tu vera(es)

Plan de Viernes(es)

La Ilustración(es)

Jail for dogs(es)

In the midst of the wave of violence in Mexico in 2014, Franco, a high school student, envisions through a screenplay the possibility of creating absolute peace in his city. Alongside his friends, he embarks on a mission to save his father from an unpredictable assault.

Lenguas(es)

Hijos del olvido(es)

CINEXIN(es)

Inuuvunga: I Am Inuk, I Am Alive(iu)

In this feature-length documentary, 8 Inuit teens with cameras offer a vibrant and contemporary view of life in Canada's North. They also use their newly acquired film skills to confront a broad range of issues, from the widening communication gap between youth and their elders to the loss of their peers to suicide. In Inuktitut with English subtitles.

Empire of Madness(en)

Don’t be misled by the title and put your lube away: True Gore II (aka Empire of Madness) (1989)–M Dixon Causey’s follow-up to the eponymous first entry–has virtually no true gore in it at all. Instead, the first half is a compilation of faux-snuff vignettes akin to something you’d find in a SOV horror collection like Snuff Perversions 1 & 2, Snuff Files, The Dead Files, Violations I & II, or even more recent titles like Murder Collection Volume 1. The second half is in turn a send-up of satanic panic style videos like Law Enforcement Guide to Satanic Cults, Devil Worship: The Rise Of Satanism, and countless others shat out during the 80s/90s. The vignettes are hilariously inept to the point where it seems clear that Causey was parodying the shockumentary form. Even the credits are a joke, mocking the seriousness with which shocku producers take themselves, crediting a ‘researcher’ for a film that clearly had none, and a ‘visual archivist’ being listed in place of a cameraman.