Iñaki Oñate

A conversation between a father (the poet) and his son (the illustrator) about imagination as the creator and, at the same time, transgressor of reality.

A young film professor and his student will find themselves entangled in a plot revolving around a mysterious can of film containing secret information related to one of the darkest chapters in human history. Which force will ultimately retain this mysterious can of film? Good or evil?

The imminent closure of a small cinema in the Constitución neighborhood of Buenos Aires, Argentina, will be the propitious element to reflect on the mystique of the cinemas of yesteryear and on the figure of the film projectionist. A personal homage to the liturgy of cinema, its ghosts and its dreams.

Built in 1965 and located on Avenida Juan de Garay, in the San Telmo neighborhood of Buenos Aires, a residential building holds an extraordinary mystery that is part of the everyday lives of its tenants. An archetypal secret intersects the lives of the inhabitants of Garay, whose stories are intertwined with Argentine popular history, isolation and imagination.

H-151 is an android that suddenly starts to have human memories. Humanity seeks to resist despite the power and indifference of the machines.

With the arrival of major international movie theater chains in the late 1990s, the era of the old-fashioned movie theaters in Quito came to an end. For more than 80 years, the city was dominated by iconic movie theaters that captivated audiences like no other. The Bolívar, Variedades, Atahualpa, Alhambra, Capitol, and Fénix theaters, among others, were the gods of cinema that, in their heyday, projected illusions, desires, and fantasies onto the big screen for viewers. This documentary is a journey through time, a reconstruction of that cinematic memory through testimonies, vestiges, and memories.

A conversation between a father (the poet) and his son (the illustrator) about imagination as the creator and, at the same time, transgressor of reality.

A young film professor and his student will find themselves entangled in a plot revolving around a mysterious can of film containing secret information related to one of the darkest chapters in human history. Which force will ultimately retain this mysterious can of film? Good or evil?

A young film professor and his student will find themselves entangled in a plot revolving around a mysterious can of film containing secret information related to one of the darkest chapters in human history. Which force will ultimately retain this mysterious can of film? Good or evil?

A young film professor and his student will find themselves entangled in a plot revolving around a mysterious can of film containing secret information related to one of the darkest chapters in human history. Which force will ultimately retain this mysterious can of film? Good or evil?

The imminent closure of a small cinema in the Constitución neighborhood of Buenos Aires, Argentina, will be the propitious element to reflect on the mystique of the cinemas of yesteryear and on the figure of the film projectionist. A personal homage to the liturgy of cinema, its ghosts and its dreams.

The imminent closure of a small cinema in the Constitución neighborhood of Buenos Aires, Argentina, will be the propitious element to reflect on the mystique of the cinemas of yesteryear and on the figure of the film projectionist. A personal homage to the liturgy of cinema, its ghosts and its dreams.

Built in 1965 and located on Avenida Juan de Garay, in the San Telmo neighborhood of Buenos Aires, a residential building holds an extraordinary mystery that is part of the everyday lives of its tenants. An archetypal secret intersects the lives of the inhabitants of Garay, whose stories are intertwined with Argentine popular history, isolation and imagination.

H-151 is an android that suddenly starts to have human memories. Humanity seeks to resist despite the power and indifference of the machines.

With the arrival of major international movie theater chains in the late 1990s, the era of the old-fashioned movie theaters in Quito came to an end. For more than 80 years, the city was dominated by iconic movie theaters that captivated audiences like no other. The Bolívar, Variedades, Atahualpa, Alhambra, Capitol, and Fénix theaters, among others, were the gods of cinema that, in their heyday, projected illusions, desires, and fantasies onto the big screen for viewers. This documentary is a journey through time, a reconstruction of that cinematic memory through testimonies, vestiges, and memories.

With the arrival of major international movie theater chains in the late 1990s, the era of the old-fashioned movie theaters in Quito came to an end. For more than 80 years, the city was dominated by iconic movie theaters that captivated audiences like no other. The Bolívar, Variedades, Atahualpa, Alhambra, Capitol, and Fénix theaters, among others, were the gods of cinema that, in their heyday, projected illusions, desires, and fantasies onto the big screen for viewers. This documentary is a journey through time, a reconstruction of that cinematic memory through testimonies, vestiges, and memories.

A personal tribute to the liturgy of cinema, to its ghosts and its dreams.

A personal tribute to the liturgy of cinema, to its ghosts and its dreams.

A book torn to pieces by a basset hound dog will awaken memories and anecdotes in the form of three video letters, addressed to Berenice. A romance from the past. The letters are intended to invite her to a reunion to remember old times. Could it be that she accepts the invitation?