Have you ever seen a favela at nightfall ? What kind of show it is ? Hundreds of disordered structures clustered on the slopes of a hill light up like a galaxy being born. This quiet beauty contrast to the chaotic bustle that dominates the streets during the day. Martin is walking on the gateway. Behind him, in the background Rocinha's Favela, no more sky. He greets an acquaintance and walks down the street to his house. He enters and finds his son. A newspaper article talks about the health at Rocinha, a dialogue ensues. He pulls out old photos that show the works for the installation of pipelines running water. We see the waste littering the floor and dirty water flowing in the streets. Night falls on the favela. The children come home from school, headlights from motorcycles-taxis dazzle. Flavio is ready for his hip-hop workshop. He leaves, through the noisy streets of the favela. On a roof, he finds teenagers and his band. They discuss about the news of the neighborhood. Then, some dance while others rap. Their lyrics speak of the struggle "favelados" for the right to a better life. Through these scenes the film leads us to discover those, from one generation to the other, who fought for the right to housing and a dignified life.

September 11th, 1973. The Chilean army and the CIA bombed the presidential palace of the socialist president Salvador Allende. Then followed 17 years of terror and brutal repression. 3200 people have been reported dead and 1200 are still missing. In Santiago’s General Cemetery, 5 gravediggers who have worked during the dictatorship are still employed at the cemetery. They have never spoken out about what lived. Because, for the last 40 years, they have been trying to forget. To forget that, watched 24 hours a day, they buried clandestinely, hundreds of unidentified victims. To forget they were atrociously mutilated and tortured. They have been trying to forget the morgue. The floor were strewn with rotting corpses and the walls were crawling with maggots. They also tried to forget the deaths of colleagues who had sunken into alcoholism, depression or madness. Resistance and resilience were the only ways to survive during this descent into Hell. The film will be shot exclusively inside the cemetery and will bring to light these previously unspoken words. Words which via these alleys and certain iconic tombs will bring history to the surface and enable us to look beyond the Chilean reality, and see how a totalitarian state puts into practice the mechanisms of dehumanization.

Saywa (25). He is a young indigenous boy from the Ecuadorian mountains. Near to his house, there are a forgotten Inca’s ruin where he finds a small “huaca” with archaeological pieces. He takes them from this sacred site selling them for cheap, making little money. One day he finds a bigger one, but when he takes the piece back home, his family disapproves him. They ruthlessly punish him in front of the entire community in the indigenous justice way. After this event, he decides to leave his town to start a journey towards southern lands, following the Andes in South America. In Trujillo (Peru) he meets a group of men that are professional “Huaqueros” and this gang invites him to make a little robbery in Lima. Later in Lima, they meet with an European illegal dealer of archaeology who offers them a crazy amount of money for a pre-inca mummy, which is buried close to the spectacular “Salar de Uyuni” (Bolivia). During the looting they are discovered, starting a shooting were one of them die. Saywa and the rest of the gang are trying to escape driving along Uyuni, he regrets of what he is doing. In a final fight he kills his last companion with his weapon. Saywa walks alone by the Uyuni salty landscape with the mummy in his arms and with no direction.

Clara (39) is a well-known illustrator that less than a year ago won a very important prize that changed her economic status and found herself on the public eye, so she moved with her family to a suburb to be more focused on her work. Her husband, Francisco, is her pleader and defender, sometimes over-protective. Also Sammie, her agent. Between both of them, kind of handle Clara´s life. Among this adaptation and discovery, she goes to the town to buy something, and finds Ariel, the butcher, her old boyfriend, with whom 20 years ago, dreamed of living in that place. The impact is mutual. Ariel doesn’t know anything about the public life of Clara and she enjoys this on top of everything. They start a series of random encounters, continued by some programmed ones, doing things that they used to do and are no longer part of her current life. Ariel lives one day at a time, without thinking or expecting too much. Something that contrasts a lot with Clara’s family and working life, full of important and exposed events, as well as tidy up and tight orders. Clara goes into crisis with what she has to draw next, finding herself in an unknown place, where she finds out from Ariel who she was and who is she now. What changed, what is her essence, what she lost? Who she wants to be from now?

Asunción, Paraguay, 2013. Chela (60), has been living with Martina (61) for more than 30 years. As heiresses from prosperous families, they have received enough money to live comfortably without the need to work. But as they both turn 60, the inheritance starts to run out. With the passage of time and the difficult economic situation, the relationship between them has worn out and become a succession of long silences. It all gets more complicated as Martina faces prosecution for unpaid debts and has to go to jail. Chela visits Martina whenever she is allowed. They meet in a communal area where they talk and observe the lives of the other inmates. Chela feels desperate to help secure Martina's release and is obsessed with the bars surrounding her, as if she were also a criminal. In order to make money to pay for lawyers and her expenses, Chela organises garage sales and provides a sort of taxi service, for older women. This is how she meets Mara, a 50 year old, daughter of one of her clients, to whom Chela connects with instantly. The new experiences affecting Chela’s life will change her perspective of a world that she has never before allowed herself to discover.

In the Peruvian Amazon, while small groups are formed to deal with abuse by the state and the introduction of money in their lives, others do nothing and others know nothing. Through the portrayal of several characters and a poetic fiction which suggests both the history and myths of the region, the documentary questions the Amazonian reality, exposes the day to day consequences of the global economy and wonders about the place of humanity in a world without God. At the mercy of the slow journey up the river, the characters and facts we encounter illustrate the reality of this complex web, where we confront boundaries of culture, environment and spirituality. The film develops on a human scale, with "Indians" without feathers or make-up, westerners more or less lost and ordinary poverty. The narrative weaves through interviews and observation that mix staging and contemplative digressions, but also by the tenuous presence of a witness to the journey. A short fiction, inspired by the form of Noh theater, shows both mythologies, history and dreams. Through its poetry, it proposes other perspectives, other possibilities. Roles, randomly distributed through the encounters, are an excuse to play around with reality and illusion, a limit that does not exist in this shamanic culture.

Sergio is an 53 year-old architect who works for his father, Hector, in the family construction company for 30 years. Year after year Sergio was giving up his professional dreams in favor of commitment to the familial business’s growth and Hector’s vision of success, in parallel with the progress of the city. Recife, the 5^th largest city in Brazil, is undergoing an urban transformation, as strategic economic development plan for the northeast of Brazil. The city is receiving massive investment, guided by an ambitious elite. Here, the same mistakes made in other major cities in the world are being repeated in the name of blind progress. Today, Recife is the perfect place to profit.The current Brazilian economic boom and the discovery of Hector’s new cancer metastasis gives a unique opportunity to Sérgio take control over his own life. "Paterno" follows the strategies of Sergio to become the majority shareholder of the family business, enriching with a illegal mega-venture beachfront, where he’ll build his most ambitious architectural project. While waiting for his father death, Sergio discovers that Hector had another family with legal and equal rights to his assets. Something that could destroy Sergio’s plans of power, wealth and glory. But he’ll not let it happen.

The film is about the relationship between an employee and his employer. How it thrives and after breaks. On the  tortuous relationship of both with happiness, freedom and work. The employer is a young owner of several rural businesses. He belongs to a new generation of agricultural operators who do not fit with the traditional stereotype of rural producer. He comes from a bourgeois family and he practices a modern life. But he has a great concern: the employer and his wife awaiting the result of a study about the health of their baby. They fear the worst. He has everything, except the health of their child. The employee is even younger than his employer. He is the eldest son of a local hunting guide and for the first time takes a job on the tractor. He lives in countryside amid a wild humility, even with their parents and the mother of his child. He has an urgent need for a proper job. He dreams to run a “raid” for which trains a horse. Tragedy ensues. The employee’s baby dies in a tractor accident drive by him. The guilt born in the employer’s soul and he start trying to help his employee giving what to do: he use it as a driver, leads him to a family reunion to do the roast, and finally lends a great horse to run the “raid” and make a big gamble for him.

Set in the final months of the nineteenth century and the very beginning of the twentieth, All the dead ones is the story of the decline of a family in São Paulo, from the point of view of its three women: the mother, Isabel, and her daughters Maria and Ana. After the death of their maid Josefina – a former black slave back from the times when the family lived in the coffee farm – the notion of “home” seems to stop making sense. Isabel gets sick and does not get better. She seems to have only a few months to live. Maria, a nun and teacher, has little time to devote to the house. She puts her sister Ana in charge. But Ana is a strange, quiet and lonely girl who was never able to get married. As time goes by, Ana develops an obsessive relationship with the memories of the family farm and the slaves who lived there. Their ghosts come back to haunt her. Also, the three women miss Jorge, the father, who left them in the city to work for the Italians who purchased the old farm. The women know, deep down inside, that he will never return. The film is set around three big Brazilian holidays: Independence Day, Day of the Dead and Carnival. Unable to share the euphoria that comes with the modernization of the city of São Paulo, Isabel, Ana and Maria inexorably approach illness and madness.