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El baile de San Juan

It is the final decade of the 18th century in New Spain. We are in Mexico City, inhabited by local adventurers, native inhabitants and Europeans of every kind. In these surroundings, our characters, Jerónimo Marani, court choreographer, Giovanni, his mestizo son, and Victoria, the daughter of the most prominent family in the city, who is in love with Giovanni, live a life of love and aversion, court intrigue and popular grievances, Viceregal dogmas and dreams of freedom. Mexico´s war of independence is only a few years in the future.

El baile de San Juan

4.6 2010
Oblivion

Heddy Honigmann returns to her birthplace of Lima, Peru to reacquaint herself with a place and people dear to her heart. It is about a forgotten city, a forgotten history and a forgotten people. With irony as their loved weapon for survival, they have to forget as well, in order not to give way to cynicism, hatred and grief. It is about remembering the old days when life - despite class differences, corruption and violence - was still good: waiters, bartenders and shopkeepers who are fighting a losing battle and have lost everything. It is also about the children who manage to survive by mastering the art of street life and who reveal the country in it's true colours. Just like the dogs they share the streets with, they have no good memories to forget.

Oblivion

4.9 2008
Silence Sometimes

Silvia's birth leaves doctors perplexed. After cutting the umbilical cord, the baby cries, but her cry is silent. Maria, her mother, tries to ask what is wrong, but she is also unable to use her voice. After performing several tests, the doctors discover that anything that comes into contact with Silvia's skin loses the ability to emit sound. As an adult, Silvia runs a small flower shop in a neighborhood of Madrid, inherited from her mother. She decides to lead a quiet and solitary life, aware of what she can do to anyone who touches her. However, when she meets Marco, a musician of great talent, his fragile balance begins to crumble.

Silence Sometimes

NR N/A
Giants Don't Exist

Guatemala, in the 80s. The worst days of the Civil war. Andrés is 9 years old. He lives with Pedro González, one of the men who massacred all the women and children in his village. Andrés has survived, but he's scared. Pedro's wife, María, is also scared, scared to go out, scared to lose Andrés, whom she considers as "her new son" - even Pedro is scared, scared of himself and what the Army bounds him to do. Andrés would like to run away but he also wants to stay in his new family - until his sister appears.

Giants Don't Exist

7.6 2017
Puenting (Leap of Faith)

A first feature based on sexual events. An actress undertakes her desire of directing her first movie, without a budget or any production company funding her project. She gathers a group of professional actors and actresses, and proposes a project based on a very particular experience: stepping on their fears through a metaphorical 'leap of faith'. As the project advances, individual conflicts will arise affecting the shoot, making the movie crew wonder whether or not they should go on. Will they take the leap of faith with all its consequences?

Puenting (Leap of Faith)

NR 2019
Amancio, vampiro de pueblo

He's the bartender at a bar with no parishioners. There he spends his nights yearning for good times, now that he can not even attract his only neighbor: a stray dog. He only has his Pomace to attract some clueless soul. However, he prefers something much more select, human blood. His luck changes with the arrival of two visitors but the Fortune has reserved a surprise for him. Their new preys are family. Amancio has to choose between ending his lonely existence or his thirst for blood.

Amancio, vampiro de pueblo

NR 2018
Dying to Tell

In 2012, awarded filmmaker Hernán Zin suffered an accident in Afghanistan that changed his life forever. The traumas he had been accumulating during 20 years of war reporting suddenly imploded. He began suffering depression, loneliness and self-destructive behaviors. Searching for answers of what happened to him, Hernán Zin decided to interview other journalists. He asked them about their traumas, their losses, their fears and their families. DYING TO TELL is the first documentary film ever made about trauma in war reporters. It is a brutal and torn portrait of war, and a tribute to those who risk their lives for the world to be informed. —Contramedia Films

Dying to Tell

7.0 2019