Despite the disturbance from the violinist downstairs, Ernesto attempts to call back his dead wife, Esperanza. The night, however, does not end as Ernesto would have hoped, when what should have been a romantic evening ends in heartbreak.

Filmed in the idyllic Mayan Riviera, All Inclusive follows the story of a Chilean-Mexican family during their summer vacation. Facing the imminent arrival of a storm, each of the characters goes through unexpected situations that cause deep changes in their lives, and they have to deal with their innermost fears, conflicts and secrets. The trip will be unforgettable, but it will remind every member of the family of the ups and the downs that make up life. With a stellar cast featuring Jesús Ochoa, Valentina Vargas, Ana Serradilla, Martha Higareda, Jesús Zavala, Leonor Varela, Jaime Camil, Maya Zapata, Mónica Cruz and Edgar Vívar, All Inclusive is an appealing movie that talks about the search of happiness, the things we don’t say, tolerance and family love.

Amnesia is a thriller of truth, forgetfulness, vengeance and encounters. Zúñiga and Ramírez, two pawns of a war no one wants to recall, are lonely men that find each other after a long period of time. Set in the city of Valparaíso and the Atacama Desert, the film deals with the encounter of the tortured and their torturers after the end of the Pinochet dictatorship. Amnesia is an essential reference for understanding this dramatic period of transition in Chile.

In 1999, two brothers were deported from the United States to Mexico. Within two weeks, one of them overdosed on heroin in a seedy Tijuana hotel room, his body left unclaimed for two months in a mass grave. These U.S.-raised men, military veterans, were deported from the only country they knew—and had sworn to protect—to forge new lives in Mexico. Against the backdrop of increased attention to the U.S.-Mexico border, filmmaker Monika Navarro draws on her family’s experience to explore national identity and ties, the lives of immigrants, and what happens after deportees are sent to a homeland they don’t consider home.

Arráncame la vida begins its journey during a transformative period in Mexican history. The Revolution of 1910 is over and the country’s rule is open to whatever politician had the audacity to grab it. Dominating men fight ruthlessly for control, manipulating and exploiting others to gain power. Growing up in 1930s Mexico, Catalina Guzmán knows little of the world beyond her father’s house, unaware of the political storm that looming over the whole country.

In 1973 in Chile, at the height of the internal tension during Salvador Allende’s three years in office, Carmen, a university employee, maintains her faith in the popular government despite the constant questioning by her colleague Juan and her partner Víctor, who, confronted with the imminent coup, opts for a more radical response than she does. Carmen maintains her hope with the support of Carvajal, an exemplary proletarian in charge of cleaning up the university.

Sixteen-year-old Pablo lives with his mother, who for a few years has been struggling to make ends meet. Faced with tremendous peer pressure to fit in by his schoolmates, Pablo deeply wishes they could go back to living the way they used to.

Don Andrés, the last inheritor of the wealthy Ávalos family, feels that he has wasted the last 58 years of his life, idly reading and searching for the meaning of life. After he employs a 17 year-old peasant girl to care for his senile grandmother, Don Andrés becomes deeply ashamed of the dark desire the girl awakens in him. His inevitable emotional collapse parallels the deterioration of the formerly grand Ávalos mansion. Coronación is based on the novel by Chilean author José Donoso.

What do you do if the day your first child is to be born is also the same day your father is to be executed? If you are twenty-six-year old Manny, you use your father's impending execution as an excuse to flee the daunting responsibility of fatherhood. There's only one problem: Manny lives in Monterrey, Mexico and his father sits in on death row in Texas. Against his wife's wishes, Manny embarks on an ill-planned quest to cross the border to see his father, hoping that the trip will buy him time and insight into his upcoming responsibility.

In a town where fishing is a deeply rooted tradition, women are considered bad omens on a boat. Without entirely comprehending this creed and inspired by her grandfather’s principles, Tere decides to prove that she can become a fisherwoman. Along with her best friend, one day she is able to catch a great cunaro. But, what seemed to be a dream come true for Tere vanishes quickly in the face of reality, and becomes a life lesson that neither girl will ever forget.

Nina is a 10 year old girl whose life changes dramatically when her dying father and Scissor Dancer master asks her to fulfill his last wish. Inspired by an Andean myth and by the short story by Peruvian writer José María Arguedas, "The Agony of Rasu Ñiti."

Ten year old Lizzy and Raúl live next door to each other in a duplex. Through the wall, Raúl hears Lizzy’s parents argue night after night as they head toward divorce, prompting him to try to find a way to help his friend escape her traumatic situation. This is a story about two children and their strength to overcome the common tragedies of everyday life.

It’s 1988, and Melo, an Uruguayan town on the Brazilian border, awaits the visit of Pope John Paul II. Fifty thousand people are expected to attend, and the most humble locals believe that selling food and drink to the multitude will just about make them rich. Petty smuggler Beto thinks he has the best idea of all when he decides to build a bathroom in front of his house and charge for its use. His efforts bring about unexpected consequences, and the final results will surprise everyone.

El cielo, la tierra y la lluvia deals with the lives of four lonely people living through monotony and silence in the south of Chile. They meet to eat, walk on the beach, take the ferry or simply to accompany each other without needing to say anything. In a way, they try to save themselves in a silent, furtive, and extreme manner. They search for love, sex, inexistent family affection, and their own space and time, not only to distance themselves from the loneliness that intimately brings them together, but, ultimately, to find themselves.

Ana, a 50-year-old woman, falls into a depression when her husband leaves her. Once she finally decides to get over it, she begins to change from the outside in and, led by rekindled desire, starts a process in which she rediscovers her sexuality.

Cultured, prosperous, blessed with three children and many friends, Leonardo and Martha are a truly enviable example of the species “married couple.” Leonardo is an author of considerable repute; Martha, a hyperactive housewife with academic interests. Leonardo sits back and observes; Martha forges ahead and acts. An enviable couple?

Twenty-eight year-old Enrique Heredia, also known as “Cuajo”, is afflicted by cerebral palsy and has difficulty walking. He and Adolfo, a downbeat 30-year-old who lives with his alcoholic father, decide to open a music studio, where they can earn a living while working with music, their passion. To accomplish this goal, they surround themselves with men and women of different origins and cultures but with whom they all share the common denominator of belonging to a long-suffering and deprived urban community. Winner of the 2009 Goya Award for Best First Feature.

Three teenagers—Gerardo, Nano and Raymundo—spend their spare time stealing gasoline to go joyriding. They travel in one of their mother’s car without a fixed destination, looking to entertain themselves. Each stop is a crash with reality that puts their friendship to the test, showing that teenage friendships have a thin line that separates betrayal, deception, and a kamikaze-like solidarity. Gasolina is an intimate story that shows that youth, country, and future are defined by extremes.

La buena vida tells the story of four characters that, while strangers to each other, live in the same bustling city. All of them chase after their dreams: Teresa tries to rescue lives as a psychologist; Edmundo is a hairdresser who dreams of owning a car; Mario wishes to join the Philharmonic; and Patricia works on surviving daily life. As they chase after their dreams, but struggle with misfortune, all of the characters will be surprised by where life takes them.

A man remembers a childhood promise, which awakens his curiosity to seek out an old girlfriend again.

A small fishing village in the south of Chile becomes a magnet for hordes of divers, fishermen, merchants, businessmen and prostitutes, who flock in from around the country when the ban on a prized, yet endangered mollusk—“el loco” (the abalone)—is lifted ever so briefly by fishing authorities. Father Antonio is intent on both preventing his flock from running wild as well as raising enough cash for a new antenna that would allow his radio station, “Mother of the Divine Providence” to reach the entire region. The fishing village is also invaded by a small band of hookers led by Norma, a madam who drives her girls in a battered bus to any place around the country where there is action. Carlos Maldonado, a former local diver, comes home after a seven-year absence to join this bizarre group of people so he can buy abalone for a Japanese firm, and also to see Sonia, a love interest from the past.

It is a significant day for 80-year-old Antonio—after an absence of many years, his estranged son is coming to visit. All must be perfect. There will be a toast with special champagne, an embrace, warm words that may finally bridge the gap between them…but before all that, Antonio must wait. Bedridden, he looks out his window at the Patagonian landscape and sees light and life, the past and the present, while sensing the future. He decides to secretly leave the house, unseen by his faithful caretakers, to take what might be a last walk in his fields, breathing the air, treading the earth, inhaling the scent of the land that had been his life. What might otherwise seem like insignificant memories or moments in one’s life take a special, beautiful meaning and weight in this poetic, humanistic film.

Teenager Juan crashes his family’s car into a telegraph pole on the outskirts of town and then scours the streets searching for someone to help him fix it. His quest leads him to Don Heber, an old, paranoid mechanic whose only companion is his dog Sica; to Lucía, a young mother who is convinced that her real place in life is as a lead singer in a punk band; and to “The One Who Knows,” a teenage mechanic obsessed with martial arts and Kung Fu philosophy. The absurd and bewildering worlds of these characters engage Juan in a one-day journey during which he will come to accept what he was escaping from in the first place—an event both as natural and inexplicable as a loved one’s death.

After Julia is sent to jail for the murder of her lover, she gives birth to a son. Raising a child in prison is difficult, but the only thing that matters to Julia is this new being that accompanies her now. There is no life for her beyond that of her child. Her fellow inmate, Marta, becomes her ally; her mother Sofía, her opponent. While Marta attempts to teach her how to be a mother to her child in the least appropriate place; Sofía wishes to take over rearing the child, so that he can grow up free, outside the prison. The duel between mother and daughter reveals the dilemma facing Julia: is it better for her child to grow up next to his mother in prison, or without her, but in freedom?

Lo bueno de llorar tells the story of a couple, Vera and Alejandro, in the midst of ending their relationship. They are faced with a long night of decisions, doubts, fears, lies, silences, reflections and arguments. In a style reminiscent of Richard Linklater’s Before Sunset (2004), Bize’s film ultimately explores the dissolution of the couple. Intent on exploring the hidden feelings involved in a relationship through its minimalist style, the film reveals the dishonesty that may exist in a relationship, but also great truths about human beings.

Los ojos de Javier is a short narrative written and shot in two days for the Coalition of Texans with Disabilities. It tells the story of Javier, who wakes up one day to find that his eyes have walked out on him. They did not bother trying to explain the reasons why, they just packed up their stuff and left. The film deals in a light, comedic way with the serious issues of soul disability and loss of identity.

During supper, two women who recently began dating sit down to discuss infidelity. Between wine, a snoring son, and passionate sex, the discussion will lead them to ask each other whether their relationship should and could continue.

Virtuoso drummer and percussionist Jahir belongs to an Evangelist music group. One day, after defying the priest, he is expelled from church and he finds himself wandering the streets of Rio de Janeiro in an existential search for his music and his place in the world.

Beto is the custodian of a house in Mexico City, left empty for several years, in which he used to work as a domestic helper. The solitude of the last ten years coupled with the monotony and routine of his job have led him to develop a pathological fear of the world outside, to the point of limiting his contacts to only two people: the owner of the house, for whom he has a feeling of deep gratitude and respect that is translated into obedience; and Lupe, a friend, a confidante, and a lover. News that the house is to go on sale causes a dilemma for Beto, who doesn't know whether he should dare to set forth and live or seek a way of remaining in his confinement.

Pedro and the Captain, a film based on a play by Argentine writer Mario Benedetti, is a film propelled by its form and its content. Both dimensions are developed rigorously to transmit an idea of veracity in four encounters between torturer and prisoner, and the effect of the film’s audiovisual style is to physically discomfort the viewer as he or she is encouraged to identify with the prisoner. The film gives pre-eminence to action, to the actors, to the dialogue, and to the brief, precise reflections upon sensations and emotions.

As they chase dreams that have lost all meaning, a widowed father and his musician son, a TV broadcaster and her younger boyfriend, and a married professor inspired by his student, must negotiate what to sublimate and what to consummate in their desires. The film explores how modern-day life leads people astray from their most genuine expressions in the name of convention. The pressures and stress of day-to-day life, loneliness, and the absence of communication conspire to transport the characters into seemingly empty lives.

The near future. The world is divided by closed borders but connected by a digital network that ties together people around the world. Memo Cruz lives in an isolated farming community in Mexico, the kind of place that seems frozen in time—except for the hi-tech, militarized dam that was built by a corporation, and now controls the town’s water supply. Memo dreams of leaving his small pueblo and finding work in the hi-tech factories in the big cities in the north. On his journey north, he meets Luz, an aspiring journalist who dreams of writing a story that might one day change the world. Unwittingly their fates are manipulated by a chain of events emanating from the highest levels of technological advances.

In the midst of the tough social context of Pinochet’s dictatorship, Raúl Peralta, a man in his fifties, is obsessed with the idea of impersonating “Tony Manero,” John Travolta’s character in Saturday Night Fever. He leads a small group of dancers regularly performing at a bar located in the outskirts of the city every Saturday. Beneath Raúl’s exterior of seeming indifference to anything except meticulous recreation of Tony Manero’s dance moves and the chance to compete in a nationally televised Tony Manero impersonating contest, lies a darker side of his personality driven to commit a bizarre series of violent crimes. Meanwhile, his dancing partners, who are involved in underground activities against the regime, are persecuted by the government’s secret police. Tony Manero is a story about the loss of identity and obsession in recent Chilean history.