Víctor Cuica

The intent of novice director Solveig Hoogesteijn to make a drama about two Venezuelans from opposite sides of the economic and social tracks wobbles and weakens in the telling. Although the two compatriots both live in the capital, Caracas, and both love music, they have a need to go out into the rest of the country and discover their roots. As big-city dwellers, they are limited in their perspectives, though this excursion into other areas of Venezuela may prove more illuminating to them than to a foreign audience.

Directed by Alfredo Anzola, Manuel (1979) is a Venezuelan drama that explores themes of love, faith, and resistance. The story follows Aparicio and his wife, Alma Rosa, as they welcome a new priest, Manuel, to their coastal village. As Manuel becomes acquainted with the community, he discovers that the village is slated for demolition to make way for a tourist development. Deeply moved by the villagers' plight, Manuel joins the local fishermen in their struggle to defend their land. During this time, he also finds himself drawn to Alma Rosa, leading to personal and moral dilemmas. The developers, aware of Manuel's growing influence and his feelings for Alma Rosa, begin to monitor his actions closely. The film delves into the complexities of human relationships and the fight against displacement.

Verónica (Maru Valdivielso) is a young executive who works in a dairy company. One day before going on holiday to the carnivals of Rio Janeiro, the company is blackmailed by a batch of poisoned yogurts. The president of the company gives a heart attack and Veronica goes to visit him to the hospital. There he meets a young man (Pablo Carbonell) who runs away from someone who wants to kill him. Suddenly, the young woman is involved in a series of entanglements, blackmail and persecutions, caused by men who cross their path, all obsessed with crazy love for a puzzling woman fatal.

About a mysterious and troubled black woman, a former practitioner of the Santería religion, who must comes to terms with her background whilst in a Caracas jail.

In a coastal town with no name and desolated by poverty, the sea suddenly begins to exhale a scent of roses that transforms the lives of all the villagers.

A beautiful seductress draws a man in the midst of a mid-life crisis into a sordid world of drugs, crime, and debauchery. Alejandro is down on his luck. Unemployed and loveless, he falls hard for beautiful Vanessa when fate brings the two together seemingly by chance. But Vanessa's boyfriend is a hit man for the mob, and despite at first feeling swept up in circumstances beyond his control, Alejandro soon realizes that in order to regain his confidence, he must embrace his destiny.

Tierna es la Noche is a film without bullets nor sea, without mosquitoes, without peasants nor flowers. It only contains a barman, a man and a beautiful woman who lives in a bathroom. For commercial reasons, we have included two policemen, a drop of blood and a multilingual nymphomaniac. For aesthetic reasons, a tear and a black man. For both reasons, the film takes place anachronically, during the fifties and nineties in a make-believe city called Caracas. It's a story of histerics, like all stories, unfinished.

During a police round-up, Mercedes witnesses the unjust murder of her son, a working-class man, by a police captain. Refusing to accept the official version of the story - that her son was a criminal - she launches a campaign for justice. Santiago, a young journalist moved by Mercedes's passion and determination, begins to investigate the story of the police cover-up at the risk of his own life. As the investigation develops, the film exposes the depth of Venezuela's corruption.

The film follows the events of the night of February 4, 1992 in Caracas, Venezuela. That night a group of military rebels staged a coup d'etat. Venezuelans found themselves as virtual prisoners. As the coup starts and fighting takes place from a military base which is in the center of the city's most affluent areas, with both luxury high rises and palatial mansions. The area of La Carlota provides a wealth of very interesting, often flamboyant and typical characters of the Latin America upper middle and upper classes. They are among the most affected. Various vignettes in these different characters' homes are developed. These people's reactions, lifestyles, vices, and humanity come out in a very honest fashion under duress.

Musical documentary on Latin jazz.

In Secretaries Day, either you get laid or you get paid.

A rich kid runs away from home and meets a young musician who shows him the night life in Caracas.

Eleven-year-old petty criminal Maroa lives with her violent grandmother Brigida in Caracas. After her boyfriend Carlos is involved in a shooting, Maroa is arrested and sent to a school where Joaquin conducts the youth orchestra, and he asks the naturally talented Maroa to join. Days now revolve around the classes that Joaquin, the shy and unconventional teacher, gives her. He is immediately interested in this talented young girl, who lacks all notion of discipline. Joaquin, the only person to offer hope in the midst of her rejection, finds that through Maroa, his world has also changed forever.

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'.

Directed by Solveig Hoogesteijn, Macu, the Policeman's Woman (1987) is a Venezuelan crime drama based on a true story. The film follows Macu, a young woman living in a Venezuelan shantytown, who becomes romantically involved with a local policeman named Ismael. As their relationship develops, Ismael's jealousy intensifies, leading to tragic consequences. The narrative delves into themes of power, control, and the dynamics of abusive relationships within marginalized communities. The film is notable for its exploration of gender roles and societal issues in Latin America.

Anita Camacho, an ambitious maid poses as the owner of the house where she works in order to seduce a man of money, marry him and finally stop being poor.

A politically charged film, where a series of archetypal characters are presented.

Carmen is a beautiful woman working in a business that is dedicated to smuggling. One day, Carmen fights and hurts to a smuggler woman, so a sergeant in the National Guard, José Navarro, stops detain her. In doing so he also falls in love with her, but jealousy will destroy his passion.

Alexander and her friend Diosa start working in a furniture store, Alexander suspects that the owner is involved in a murky business.

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.