Maria Castan de Manuel

One summer, Dídac travels by bike along the Danube with his family, starting where the river first emerges in Germany. As they journey downstream, he begins seeing a mysterious boy, Alexander, who appears and disappears in the water. Dídac feels himself changing, drawn toward Alexander and away from his brother Biel. Their mother, Monika, who once took the same trip as a teenager, drifts into memories of a past summer love. When she sees Dídac and Alexander together, she encourages them to continue the journey alone. But as twilight falls, Dídac begins to question who Alexander truly is.

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The friendship of two young women is put to the test when one of them becomes unintentionally pregnant and the other one proposes raising the baby together instead of having an abortion. This proposal has a profound effect on their group of friends and challenges the limits of their intimacy.

Júlia arrived some time ago in Glasgow fleeing from Barcelona; she wanted to start from scratch. Years have passed and she seems stuck: in the mornings she tries to pursue her career as a photographer, at night she cleans dishes in a restaurant. One afternoon, while taking portraits of pedestrians crossing a bridge, one of her eyes begins to fail. As illness begins to spread Júlia will begin a search into the past to the depths of Glasgow and its history. The river will carry her towards a memory: the day she met a mysterious group of men who pulled objects from the depths of the water and among them a strange Indian boy, Shubham, who also came to the city from far away in search of a new life.

A group of people are walking in the forest. They seem to be heading somewhere. In the sky, a plane is flying and inside it, a child is crying.

A weary radio host encased in her headphones, Gal·la, plays Chopin’s Concerto No. 2 in F minor, interrupted by a child in a karate uniform. After the studio she reads a story to help him sleep, though no one quite manages. Encountering a stranger, the three begin a new broadcast that beams from their room. Sound is the main preoccupation of La nostra habitació, it encloses, intrudes, draws together and sets free.

Paraguay, 1999. The country is experiencing a period of political and social turmoil. One morning, Ramón, an impoverished farmer, receives an unexpected request from his wife: to sacrifice their last chicken and loyal pet so they can have dinner that night.

Joel, hardened into stone, hiding his feelings for so long. With the return of an old love, cracks start to bloom in his armor.

A young newlywed couple enjoys their honeymoon, isolated from everything in a Mediterranean paradise. Around them, the atmosphere thickens.