Content from Sancho & Punta

Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.

Ely is 17 years old. After school, she works few hours at a pet shop. When Ely learns that she is pregnant, her inner world explodes even though she tries to go on with her daily routine as if nothing was different. She is afraid and upset, and she knows that, whatever she decides to do, there is no turning back.

For a while, I doubted about what I felt, but the psychiatrist said I din't need any medicine. So, I decided to make a movie from it. I invited my mother and a great actress to participate. It was a ritual of turning into film what I didn't want to be just real life, or anymore. Mixing memory and invention, women and the cinema.

The ghosts of a 19th-century slaughterhouse haunt the Cinemateca Brasileira: where cows once died, films now end up. Montevideo's former Central Market houses the Cinemateca Uruguaya. A power plant now houses the Museo de Cine de Buenos Aires. This triptych portrays and connects three film archives through architecture and the buildings' interaction with urban life.

The employer is a young man who apparently has everything going on for him except one pressing concern: his baby’s health. The employee is looking for a job to support his newborn too, so does not hesitate when the first decides to hire him to work in his lands. Both will meet their needs by helping each other. But one day an accident happens. This unexpected event will strain the ties between them, endangering the fate of the two families.

40 years after the beginning of the AIDS pandemic, seven artists and an activist doctor, all of them living with HIV, offer new images and perspectives to deal with serophobia in Brazil.

It’s Aisha’s last day in Belo Horizonte. We follow her farewell in the company of her best friends: Bramma, Igui and Will. Through the everyday life and encounters between the characters, the film weaves an affectionate portrait of a family that is built by choice, through the value of friendship.

Aunt Neirud was always present at family gatherings. Neirud was big, strong, and worked in the circus. Who was this woman so close to the family and about whom we know so little?

In the city of Cajamar, in the middle of ruined nature, lonely characters deal with the police, rodeos and mysterious fires.

In the end, one is dead and the others are alone, although the truth is that they were already alone long before his death. Now all of this is gone and there is no point in looking back.

The daily life of a family in which countless factors are disturbing: the father is unemployed, the members need to move house, the mother is abducted, and life continues as if nothing had happened.

Water as a physical and metaphysical metaphor and background of human existence. A docu-fictional essay between the Brazilian Sertão-deserts and the Northern-German flood areas of Dithmarschen. Dramas and day-by-day-observations in times of climate change.

Uberlândia, Minas Gerais, Brazil, February 24th 2011. Isabel Burlan da Silva, the director’s mother, is brutally murdered by her partner. “Elegy of a Crime” is the final chapter of Cristiano Burlan’s “Mourning Trilogy, about the tragic family history. Faced with impunity, the film plunges into a dizzying journey to rebuild Isabel's image and life.