Mario Handler

A village on the Venezuelan coast, a place of fishermen and big haciendas, Aquiles Vargas, a white aristocrat in somewhat reduced circumstances, fights with Cruz Guaregua, a humble black fisherwoman, and mother of his only son, a half-caste 'mestizo'.

A living room, two video cameras, an armchair, two televisions and a mirror: domestic daily life in which colleagues, family and friends come together to decipher the life, personality and artistic trajectory of one of the most important actresses of Venezuelan Cinema: Hilda Vera

Ricardo Azolar is looking for the right words, the exact phrases that will give him literary glory. The days are sterile and lacking in those brilliant ideas that should allow him to express through narrative, the fertile flow arising from the imagination. Until he meets Lisbeth, venus and intoxicating muse who nevertheless compels him to write irrelevant and devoid of any imagination literary texts.

TV Movie based on the life of Antonio José de Sucre, the Gran Mariscal de Ayacucho

Three centuries of Venezuela's history as a Spanish colony are considered from economic, political and social standpoints; evocations of the past are compared to the present. Based on the ideas and research of Federico Brito Figueroa, Alfredo A. Alfonso, Miguel A. Saignes, Josefina Jordan, and Thaelman Urgelles among others.

After a long exile in Venezuela, filmmaker Mario Handler returns to his country, Uruguay. There, the dictatorship is still present in the media, public opinion, and in the memory of people. The director feels he owes something to the comrades, those who could not leave the country. This debt translates into poetry, black humor and conscience, in a sharp and accurate atmosphere of this dark time of Uruguay.

No description available.

Raoul Ruiz shot this film on March 28th, 1971, during the big peasant march in Temuco, Chile, when the bill that gave the full citizenship and civil rights to the Mapuche Indio people was approved. Raoul Ruiz listens to their painful stories.

The confrontation between two families over possession of the land gradually becomes a great slaughter where almost all the members of one the sides dies. One of the survivor will take justice into his own hands.

Existential confrontations are unleashed while people try to survival within a concret jungle. Such conflict gets worst when the person is near his fifties and finds himself empty-handed, without a real company, full of frustrations that hound him.

The "caminante" refers to a hobo who roams the countryside, a nomenclature preferred by Carlos, who once traveled all over Uruguay before becoming a homeless vagabond, or "bichiome", in the city of Montevideo. The film presents a portrait of society through the life of one marginalized individual.

Students protest during the Chiefs of State conference at Punta del Este. Counterpoint between presidents, students and repressive policemen.

The story of seven prostitutes traveling in a truck, town to town, selling their show in local festivities inside an old circus tent. The authorities demand bribes in order to keep the order in town.

A documentary about the building of a damn near Caño Mánamo and the effects it has on the environment.

After several close calls with death squads, Mario Handler fled Uruguay in 1973 and eventually settled in Venezuela where he lived and continued to make films before returning to Uruguay in recent years. The first film he completed in exile, Dos puertos y un cerro is an essay film about the imbalances of trade. A narrator dispassionately recounts in voice-over a brief summation of Venezuela's situation as a hub port in the establishment of the colonial system in the sixteenth-century.

Documentary short film by Mario Handler about the city of Prague as part of an internship to study film in Europe.

Rare images of real life stories in the so-called "asentamientos" in the poor underbelly of Uruguay's capital, Montevideo, and in its youth jails. The difficulties of finding a job and scraping together some money, the temptations of crime and its harsh consequences, the lack of culture and knowledge of the basics of life, are all intertwined in parallel lives.

During the second half of the 1960s, the Unión de Trabajadores Azucareros de Artigas (UTAA) carried out a series of marches from the north of the country to Montevideo, demanding better living conditions for its workers. These mobilizations took place in a context of economic crisis in the country and growing political and social conflict. Filmmakers Mario Handler, Alberto Miller and Marcos Banchero recorded some of these mobilizations at the time, contributing to the visibility of this sector of society, whose conditions of exploitation had been unknown to the capital's gaze until then. Cañeros, by Mario Handler, records the 1965 march and was made within the framework of the Instituto de Cinematografía de la Universidad de la República.

Documentary on the electoral system in Uruguay. It focused on the upcoming federal elections, criticizing both of the country's political parties.

The documentary delves into the intimate, labor, and political life of diverse characters to testify to the problems of inequality, exploitation, and instability in the work relations of some labor sectors.