Priljubljeno Od Cuba

Melodrama about marital infidelity.

A trumpeter for the Uruguayan Air Force Band finds an opportunity to make his dreams come true after enrolling in a music contest.

"Mother" stands out on the front of her black t-shirt, "Fucker" on the back. And as angrily as these words sound when combined into a curse, is how Antonia behaves. Because she is pregnant, and Victor, who slept with her, is getting married in a few hours to Blanca.

A romantic comedy about a neurotic girl who makes a vow of solitude after getting dumped.

Three episodes: 1) "A Christmas dinner" where the family members fantasize about being somewhere else. The fetishist father wants to put on feminine clothes. The son longs for another transvestite adventure. The daughter yearns to be a singer and destroy the saints of the church with her voice. The youngest son wants to stab everyone dead. 2) "Game of mirrors". Two young classmates kiss on a picnic, but the girl's brother accuses the couple of being immoral. Bizarre things develop. 3) "Tetrahedron". A very fat man faces his girlfriend's longing for love.

An argentine male writer and an Italian female surfing instructor meet in a little village on the coast of Uruguay and fall in love...

In a reinterpretation of Madame Bovary set on contemporary Mexico City, Emilia, a middle class housewife, tries to deal with the monotony of her life. One day, she loses the two things which makes everything beareable: her lover and her credit card.

Juan arrives in Madrid with the intention of succeeding as a singer. With the only company of his guitar, he goes from club to club asking for work.

Rafael, a young man from the provinces, works as a waiter in a resort and helps himself economically having sex for money with rich older women. During a bomb threat, he is discovered in bed with one of the guest, Leonor Marchioness of Montenegro, and he is fired as a consequence. The Marchioness of Montenegro is an aging aristocrat, ruined economically, but still with wealthy and influential friends. She helps Rafael finds a new job in Madrid as the gardener in the mansion of Antonio Fernández Herrador, Minister of economy in the new democratic Spanish government.

As a child, Roberto Gómez Bolaños dreamed of being a soccer player or an engineer; acting seemed ridiculous to him. But as time went by he discovered his true calling. First as a writer and then as an actor, he gave life to several characters, including two of the most popular in the history of Mexican television.

Yao and Moroccan Rachid arrive illegally in Valencia, Spain, and separate. Yao sells pirated DVDs in the street and wanders disconsolately around the barrio until he glimpses divorcee Maria Luisa working in her boutique. High-strung and irritable, Maria lives with her gay son, Rober, who, like many other things in life, is a disappointment to her. Rachid, meanwhile, is doing just fine working as a hairstylist in a beauty salon; Rober is hopelessly in love with him. When Yao starts sleeping in Rober's flat, a confrontation between him and Maria suddenly becomes inevitable, and when it comes, what could have been an embarrassment is actually handled with grace.

Franco Escamilla takes the stage in California for a comedy special filled with humorous observations on gossiping, the pandemic and airport experiences.

A teenage girl finds a VHS with the word "Adoption" written on it. Her brother and her will try to find the truth and discover which one of them is adopted, even if the truth means realizing that the life they know isn't what they tought.

Mexico, 2016. In some of the world's most dangerous cities life is not worth much. Looking into the eyes of the protagonists of violence, victims as well as executioners, helps to understand how fear inserted itself in the subconscious of our society. Through a network of concrete stories, we are facing the most obscure traits of the human psyche, the frail balance between humanity and evil.

As it tends to happen in almost every field in Argentina, the official film history is still far from having a federal representation. Its heroes are either from Buenos Aires or have developed their career there, and until recently, no one asked themselves what happened beyond it. This documentary brings back one of those ignored fragments through the figure of Carlos Procopiuk, a man who inhabited, like nobody else, the ethics and aesthetics of a cinema made in a rabidly independent way. An all-terrain character who acted, wrote, produced, edited, directed and taught his community, in Neuquén between the 1950s and the 1990s, how to make films. With the memory still fresh and the eloquent images from his works, the documentary by Diego Lumerman settles a small part of that inestimable debt that Argentine film has with its history.