Joanna Lombardi

Follows the life of the three members of "Los Prisioneros" during key moments of their careers. As they become an iconic band, and still today resonate.

The film tells the life of Maria Fe, a young woman who faces singleness after six years of relationship. Along with her two soul friends, played by Karina Jordán and Jely Reátegui, the girl must learn to be single again. On the way, you will run into old loves, new adventures and lots of fun.

María Fe, still single but not so sought after, faces the existential crisis and the blank page as any mature and sensible woman would: by getting involved with the wrong guy.

Pilar shares his quiet home in the country of Peru with Consuelo, Milagro and Tuna. The daily routine of this house is interrupted by a call from his daughter who will visit her along with her ​​granddaughter and newborn great granddaughter. For one night these three generations of mothers have to live under the same roof.

The Capitan Burdeles invites three longtime friends, Coraza, Doctore and El Negro, to the meeting for drinks and card games that are usually held on Saturdays. While they wait for him, they receive a call from El Negro who has had a fight in a hostel with his ex-partner, Mariana. The friends go to the place and manage to transfer Mariana, who has lost consciousness, to the meeting place. They play games and make drinks while they wait for him to recover. But this does not happen and they will soon find themselves in the alternative of having to get rid of a body that has become apparent evidence of a crime. During the long night the ghosts of sexism, frustration and imposture so characteristic in certain social sectors of our culture will appear.

Four young people travel through lost towns of the jungle in a van. It is a road movie where all members of the group take an inflatable screen plus all the necessary equipment to faraway places in the country to show movies. Three of the characters, those from Lima, premiered the movie in commercial theaters with tremendous failure. It was taken off in one week due to few spectators. One day they heard about itinerant movies and it thought this would be a good way to show their movie to areas non contaminated by Hollywood films. With this idea they hire Beto, an Argentinean that has experience with outdoor movies, to help with the technical things they didn’t know. The trip begins with the enthusiasm of those that want to exhibit the movie, and little by little convert it to a reflection of the movies, friendship and loneliness.

She, a new mother, travels through a night that never ends. Mother and daughter together but alone, communicated but incommunicado, fail to establish a bond. At night it is not a special day, it is not the first or the last. Tomorrow will be the same and the day after tomorrow too. Here lies the agony.

Set against the little-known Aug. 28 festivities in the coastal Peruvian border town of Tacna, Martha, a once-famous actress in crisis, returns to sell her family home and use the proceeds to fund a play she hopes could revive her career. As the city celebrates Aug. 28th, which marks the anniversary of Tacna’s return to Peru after its war with Chile, her plans are upended by her sister’s sudden illness, forcing Martha to stay in the place she hoped to leave behind.

Hilda and Cristina have been told that a settlement will begin near the cementery. Hilton, an illegal gravedigger, watches with concern. If they invade, he won’t have space to digging graves. The settlement and the cemetery are very close, and the dead seem to have achieved what they desire: a home.

Ella – well she has a name too – Luna (Patricia Garza), is actually about her much older husband and painter Alfredo (Paul Vega), and his choice of actions/reactions after she decides to leave him for a lover that he wasn’t aware of. Alberto has been going through a creative crisis and is under pressure to complete a series of paintings for a forthcoming show. It is nevertheless also plain to see that he’d been treating Luna, who’s also his model, largely as an object of desire and obsession – capturing with camera her every movement in the house when she’s not posing for him, and memorising her every physical feature, moles and warts included – he’d apparently counted twenty seven moles on her body. When Alfredo tracks down and entraps the lover she’d wanted to elope with (Rómulo Assereto), he’ll discover that they both have more in common than merely desiring the same woman…