Martín Kalina

No synopsis available yet.

No synopsis available yet.

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.

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.

No synopsis available yet.

No synopsis available yet.

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.

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.

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.

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.