Martín Kalina

Brazil, 1977. Marcelo, a technology expert in his early 40s, is on the run. Hoping to reunite with his son, he travels to Recife during Carnival but soon realizes that the city is not the safe haven he was expecting.

A recently discovered conversation between photographer Peter Hujar and his friend Linda Rosenkrantz in 1974 reveals a glimpse into New York City’s downtown art scene and the personal struggles and epiphanies that define an artist’s life.

In the early nineties, Dr. Jacobo Grinberg’s career was blooming and he gained lots of international credit as a researcher in the fields of telepathy and neurophysiology at the Universidad Nacional Autonoma de Mexico. When Dr. Grinberg mysteriously disappears in 1994, the police find no trace of him. The only thing that is clear, is that all his research material, including his computers, disappeared along with him.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.

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No description available.

A car is floating in the middle of a house's pool. Sofía, a young woman, manages to escape from the wreckage and sits silently on the edge. From one of the windows overlooking the pool, a witness is looking. Once in the hospital, Sofía has trouble remembering the accident.