Andrés Farías Cintrón

After her husband’s death, Sonia is forced to shrink her life, trading her sprawling family home for a cramped, unfamiliar apartment. In this state of displacement, her world is a quiet hum of grief and rigid routines, until she hears the rhythm of a neighboring construction site. There she meets Aimé, a Haitian worker whose presence awakens a dormant yet intense desire. Their connection is swift and tender, yet their romance exists in a crossfire.

A rapturous crime fable set in the Dominican Republic, Nelson Carlo De Los Santos Arias’ COCOTE follows Alberto, a kind-hearted gardener returning home to attend his father’s funeral. When he discovers that a powerful local figure is responsible for his father’s death, Alberto realizes that he’s been summoned by his family to avenge the murder. It’s an unthinkable act — especially for him, an Evangelical Christian. But as pressure mounts, he sees few ways out. Questions of faith, tradition and honor course through this electrifying film, which, seemingly at the speed of thought itself, jumps between film formats, colors, and aspect ratios, radically envisioning a community torn asunder by senseless violence.

Under the threat of a hurricane pending over the city, Lubrini is looking for his lover, who disappeared in the streets of Havana.

After not being recognized by an actress with whom he worked twenty years ago, a projectionist films himself and introduces himself into a film to revive the past.

The lives of three strangers in Santo Domingo, a girl from high society, a lonesome alcoholic cop and a drag queen cabaret performer; intertwine on the eve of a hurricane following the murder of a young poet and drug dealer.

Romelia tells the melodrama of his own story of heartbreak through the interpretation of the main characters who were part of her love story. Soon fiction and reality collide, blurring the boundaries between reality and fiction.

Honey Pot is a Video-installation that uses the image as a critical vehicle that puts into question the path we have chosen as a insular caribbean society in the twenty-first century, through the juxtaposition of fragmented images of the city, the countryside and the individual.