Andrés Costa Carbajal

Federico Veiroj’s fourth feature examines the many, often contradictory layers that make up one’s persona, in this case, a single dad and acclaimed artist who must learn to balance family with creativity.

Leonardo, an optimistic travel agent, falls in love with Lucía, a mother trying to rebuild her life. But to become part of the family, he must first accomplish the most difficult task: winning the hearts of her two children.

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Olga, Teresa and Pilar have been friends since they were born. For years they vacationed together with their parents, and later together on their own. A few years ago, Teresa got married, and for some years they didn't see each other as much. Teresa's divorce prompts a reunion, so the three of them rent a small house for the weekend. In their first day together, it becomes obvious that everything they share is in their past. They have grown apart.

At the tender age of twelve, Roberto supported the Sandinista revolution in Nicaragua and fought for education and social reforms. He was to continue his political struggle fighting alongside the communist Tupamaros in Uruguay. Thirty years later he is struggling to live his life as a woman named Stephanía and striving to be accepted by both society and his family.

It tells the history of Peñarol from 1891 to the 2011 Copa Libertadores, of which the club was vice-champion. After more than six years of production, it brings together more than a hundred interviews carried out with the protagonists of this story: retired and current players, presidents and technical directors of the club, historians, sociologists and many other actors linked to the institution.

Chacho tries to occupy his time in order to escape from drug use. He takes courses in film and baking. He doesn't show up at the shelter on weekends. That's when the devil catches him, he says. His life changes when he moves into a new house, without the rules of the shelter. But temptation is latent and his abstinence grows.

It is southern summer and a cruise is about to leave for Antarctica. Hours earlier, the World Health Organization declared the COVID-19 pandemic. What seems to be the safest place in the world, becomes the worst nightmare of those who travel on the cruise when the first positive case is detected on board. Upon verifying the massive contagion inside the ship, all the countries refuse to receive it, except Uruguay. The country that had implemented an operation to repatriate thousands of citizens and resident migrants, was the only one that provided humanitarian aid to the Greg Mortimer cruise ship that, at the time of docking in the port of Montevideo, was collapsed by illness and anguish. A story where empathy, solidarity and organized action were key to containing the impacts of the disaster.

Susi, a recent widow, receives a call from heaven that shatters the calm of her bedroom on a night as absurd as it is unsettling.

My father asked us that when he died, we throw his ashes down the beach at Nariño and the Rambla. That afternoon, I brought my camera.

We follow the lives of some three-year-old children who attend their final year at an early childhood care center. We explore their language, their tests and experiments, their ways of communicating, their relationship with the environment, music and other forms of expression. A documentary about the wonderful process of growth and the challenges that a poor neighborhood faces in a very particular year.

During a summer afternoon, the thin line that separates dreams from wakefulness blurs into obscurity during a long nap.

Delia has been writing poems ever since Jorge, her husband, was imprisoned during a dictatorship. These texts were her refuge, a place where she could express what she never shared, what she had to put aside to support her family. When the dictatorship comes to an end, freedom seemed to have come for everyone, but she continued writing. Today, Delia hands me her poems to share with her family.

Juan imagines Laura being suffocated and becomes obsessed with those images that become more frequent and more real, to a point of no return.

A rainy night in Montevideo. Two brothers escape the city in their car. They just did something serious. A clumsy and untidy escape, where regret and guilt weigh more than thought.

A simple act of kindness —sheltering a neighbor in need— forces Candela, a young woman new to her apartment, to question his intentions, her judgment, and the thin line between paranoia and self-preservation.

Stefanía is isolated in her apartment. Without being able to express her feelings or find refuge in her partner, a dream appears, pushing her to leave her confinement. Only by moving away she will be able to face the pain and regain her bond with herself and with the outside world.

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At 88 years old, my grandfather Fernando suggested that we make a film together. His proposal comes when I tell him I'm moving out of his house. So we started filming, me with my camera and he with his. Although we have lived together for more than 20 years, it is through the camera that we see each other like never before. That Breath is an intimate record of our bond, love and loss, in search of understanding what it means to be alive.

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