In December 1974, a Spanish filmmaker name Sergio del Monte died in strange circumstances while shooting his first movie. He had only been filming for two days when he died a violent death. The film therefore remained unfinished and its negatives were lost. Only a few people were able to see the preedited version. It would seem that all of those either suffered the same fate as the director or went blind. The negatives disappeared in archives. During an exhaustive search for copies 25 years later the members of an Italian laboratory came across several tins stored under a false name wich had been concealed for the previous years. These tins contained the film directed by Del Monte.
15 year-old Cristina lives in Buenos Aires with her parents, Pablo and Adela Quadri. One morning, she is abruptly removed from her classroom at stric Catholic school taken before a judge, who claims to have proof that she is in fact Sofia Lombardi, the daughter of a young activist couple, architects, who disappeared during the country's so-called "dirty war" in the seventies, when thousands were kidnapped by the army, never to be seen again. The judge files away the document of Cristina's false identity and introduces her to her biological grandmother, Elisa Dominich. Shocked, stunned and rejecting this stranger, Cristina flees from the Judge's office. But a series of secret meetings and nightmare experiences finally lead the girl to discover fer true origin and accept her real identity, assuming a new life as Sofia Lombardi.
Axel is a man, a professional who hasn't practised for years. He wanders among people and situations as if it were 'the last days'. One day he meets a pregnant girl. She is alone. They build up a relationship, similar to love. This is a film which does not use many words. It is a film of a fragile silence.
Fuera de Juego is the story of Juan, a sensitive young boy driven to delinquency by desperation and the effects on his family and environment of his country's social, economic and moral collapse. Marked by a mixture of timidity, unrequited love, his family's impoverishment, a good friend's imprisonment, generalized repression, corruption, despair and bad advice, the youngster turns to crime for the money he needs to make the dream of his life come true: he wants to leave the country and try his luck on another continent.
Julian is a student in Toronto who has just come back from a trip to Barcelona where he has fallen in love with Sundra. Julian decides to send video letters. He records his everyday, sharing his life with the camera. Sundra intially forgets him but her interest is sparked when she receives the first tape. Julian's tapes become more and more introspective until he calls Sundra early one morning and hears a man's voice on the other end. Shattered, he confronts Sundra. She openly admits to having another lover and tells him he should do the same. She convinces Julian to secretly videotape his sexual encounters for her tosee. As he pursues this goal, he faces his darkest moment but also is offered a glimpse of clarity about love.
La primera noche is about a peasant couple who have been ousted from their remote land, where they lived since their childhood, and brutally launched onto the streets of an enormous, strange and ruthless city. They experience suffering, disillusionment, disappointment in love grow inside them. They are incapable of bearing each other's pain. Althought the backdrop of this film is the Columbian conflict, the real action takes place in the characters' hearts.
Ojos que no ven narrates six stories of differing lenghts linked to one another by work, family, social and political connections. The characters come from different social classes, are of different ages in this attempt to draw a global social portrait. The opening scene shows two old men in a public hospital who constantly needle and insult each other, no holds barred. Narrated with humor, but with another tone, are the tales of Rodolfo (the judge's aid) and Eva, a young girl who cares about nothing except making a name for herself in the world of techno-cumbia dance music as well as those of Martín Chauca, Angélica and Manuel Pareja, two ex-agents trying to cover the tracks of tehir past.
This film is situated in Medellín and is about narcotrafic. It is a thriller based on the life of a small-time Colombian drug dealer, known as "el traqueto". He is character symbolic of the drug dealing and traffic in the eigthies, a time when the drug bosses had an inmense power and making life and death decisions over thousands of people. They used the famous killers (sicarios) for their murders.
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