In the colorful world of Lucha Libre, Cassandro is a star, and even if he doesn’t wear the typical mask (máscara) of a luchador, it’s because he prefers to wear an outfit made of garish feathers, or a brocade cloak. Cassandro is a professional athlete, and he is the king of the Exóticos, the queer Mexican wrestlers who are able to turn every prejudice on its head.
Fifteen-year-old Ihjãc has nightmares about his father’s death. He is a Krahô, a native of Northern Brazil. The boy walks fearfully in the darkness. A far-away song slips through the palm trees. His father’s voice calls to him: it is time to organize the funeral ceremony so that his spirit may reach the village of the dead. But Ihjãc flees to the city.
Stella is from Argentina; she is an illegal alien living in Barcelona and she has ALS. Ever since she was diagnosed with the disease, her companion Paco has been helping her to move, eat, and communicate. Her daughter Valeria keeps her company in her spare time, but in the evening she tries to distract herself at parties. The TV shows old westerns, and Stella’s duel with life continues.
The botanist Julio Betancur and his young pupil Cristian Castro plunge into luxuriant tropical greenery which seems to want to swallow up its visitors. They are on a scientific expedition and the vines, plants, and trees whose branches host a variety of flora, such as orchids, offer themselves to the careful and enamored gaze of the two men. Homo Botanicus is a naturalist and a sentimental journey.
Impetus, a Latin name. A violent motion, an impulse. After a disappointment in love, a director reflects on the origin of movement. Research leads her in unexpected directions. An impulse and it’s time to pick up the video camera and make a movie based on her life. The protagonist is an actor (Emmanuel Schwartz, Lawrence Anyways). An unexpected event and everything changes. A muse appears in the impetus and a new story begins.
A woman sits in a room waiting to be called for an interview. In the meantime, she exchanges a few words with a man who is also waiting. Politics, psychoanalysis, and performance. The psychoses, the uncertainties, the fears of the Argentina of yesterday and of today, told through the experimentations of Oscar Masotta, a theoretician of Argentina’s avant-garde between the 1950s and ‘70s, and a short story by Julioa Cortázar.
A stadium chant rises from the bleachers; rooting for the local soccer team is part of the lives of the young people from Zemoun, near Belgrade. But there’s more than just soccer; there are strolls along the river and in the city, there’s school and family, parties, the summer which is on its way, outings. But above all, there are friends. In the meantime, the movie camera roams, pauses, observes, and becomes part of the group.
Montevideo, Uruguay. Two years after the end of the dictatorship (1975-1985), a Swiss TV crew interviews passersby in view of an upcoming referendum. The vote is about a bill to pardon the members of the military who were found guilty of crimes during the dictatorship. The desire to return to a peaceful cohabitation is great, civil society is mobilized, the people must vote. “What is peace, for you?”