Tomás Álvarez

Decades after Sarah Connor prevented Judgment Day, a lethal new Terminator is sent to eliminate the future leader of the resistance. In a fight to save mankind, battle-hardened Sarah Connor teams up with an unexpected ally and an enhanced super soldier to stop the deadliest Terminator yet.

Madrid, Spain, 1975. Sandra, Lina and Eva are three beautiful women who work as actresses in erotic movies. After meeting during a shoot, they become friends and begin to share experiences, concerns and successes in an era of increasing openness, although true freedom is still far away and demands a price hard to pay.

'Having broken away from my illusory self, I was desperately seeking a path and a meaning to life.' This phrase perfectly sums up Alejandro Jodorowsky’s biographical project: reconstituting the incredible adventure of his life. He was born in 1929 Tocopilla, a coastal town on edge of the Chilean desert, where he discovered the fundamentals of reality, as he underwent an unhappy and alienated childhood as part of an uprooted family.

In 2016, journalism student Susana Rojas disappeared without a trace while making a documentary for her end-of-career work. After several years, her project is finally uncovered.

After completing his high school studies at the age of twenty-four, Óscar is an immature student, unable to afford alone his return to home during the summer season. Then he manages to convince Carlos, his young math teacher, to accompany him. Already in the family home, Óscar begins to behave in an increasingly unbalanced and irrational way. Meanwhile, his family will endeavor to see him as the reflection of the absent father figure.

‘In the realm of the visible, all epochs coexist fraternally, even if they are separated by centuries or millennia’. John Berger. ‘The third eye turns on a recognition: the Other perceives the veil, the process of being visualized as an object, but returns the glance [...] the third eyes winks at us [...], but notice how ridiculous my cage and my image are’. Tobing Rony.

If any cinematographic experience belongs from beginning to end to spectrality (Derrida), in “Kubrick” the relationship between cinema and ghostliness is explicitly evident. Through a performative spell, the projected light frees the images from the proper territory of the specter (neither alive nor dead), giving them life, or, which is the same thing, giving them death.

Words, bleats, smells, looks, patience, flies, barks, cowbells and dust. A story of painted wolves, drivers of livestock after a severe sifting. The skinned sheep that eats and eats, and looks out of the corner of its eye. The cara guarding the border with his sword eyes. And the shepherd who teaches them, with the support of his cayata.