Mandala Films

Five stories blend with love, sex, the emptiness of being unloved, passion and desire: Carlos and Susana go to some uncle´s apartment to make love. Meanwhile, Benito, an 80-year-old, performs a serenade to his wife. His neighbor Adela is told that her mother has Alzheimer and that she will be relocated since the Buenos Aires building she lives in will be demolished. Amado catches his son Carlos stealing his money. Gabriel asks Martha´s parents for her hand in marriage but they condition them to get married at their favorite church. And Patricia, 40, a creative agent, sexually abuses Joel, who directs a beer commercial.

From Gaza’s Jabaliya refugee camp, to the University of Toronto and the Supreme Court of Israel, I Shall Not Hate follows the uncharted path of Dr. Izzeldin Abuelaish, The first Palestinian doctor that worked in an Israeli hospital delivering babies, whose ethos of forgiveness and reconciliation is put to the ultimate test when an Israeli tank bombs his house, killing his three daughters. Against all odds, he turns his tragedy into a global campaign to eradicate hate.

A biopic based on the life of one of the pioneer argentine rock stars 'Tanguito'. The movie tells the story of his rise and fall from grace, encompassed in violent times of a military regime.

The story is about Iris's rise to the apex of a love/power triangle that includes her roguish English lover, McHeath, and Art, an earnest young boxer. Within the flawed moral landscape, each character struggles to establish their sovereignty.

A man tries to rob a bank and the bank's clerk, a yuppie, pretends the thief has kidnapped him to help him run away. While they're running away, they meet a girl who becomes part of the team.

Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.