Director: Mariano Aiello and Kristina Hille.
Long Synopsis Awka Liwen is the story of the struggle for wealth distribution in Argentina since the genocide of native peoples and the theft of their ancestral territories. For this is was created a culture of racism against the Indian and the gaucho who still lives in society. In 2008, the same sectors as they appropriated indigenous lands attempted a coup to keep their class privileges. There are two competing models of country that the film deconstructs from the following core concepts: Inequality in the distribution of resources. A very small group of people in the country seized huge tracts of its territory killing, enslaving, or expelling their natural owners. Then, the same factional group opposed in the past and present to pay taxes. The history repeats itself cyclically. Industrialization versus commodity-exporting economy. Since the landlord class is consolidated in the country and integrating into the global economy (under the United Kingdom until World War II), that group support a "free trade” policies. The great land owners believes that allowing free entry of products manufactured in the UK - without trying to develop a local industry - is going to give them the possibility of exporting primary products of their great farms with prices more profitable. This class always opposed and oppose today to the country's industrialization. Structural racism. Argentina is defined as a country of European immigrants. But when you look in the mirror is mestizo. The killing of Indigenous Peoples didn’t exterminate complete but maintein the status quo of the colonial over-exploitation. Injustice. Over 500 years have passed of the dispossession of their lands and now, again, are expelled en masse from the land they have left (usually the worst). Globalization. The boundaries of capitalism more primitive and aggressive spread, and go where they previously could not had interest in arrive A case study of Leleque in the huge farm of Benetton. One People, One Culture. Aboriginal peoples are holders of an ancient culture that is partly obscured, if not denigrated by the dominant culture (European Judeo-Christian). Short Synopsis Awka Liwen is the story of the struggle for wealth distribution in Argentina since the genocide of native peoples and the theft of their ancestral territories. For it is was created a culture of racism against the Indian and the Gaucho who still lives in society. In 2008, the same sectors as they appropriated indigenous lands attempted a coup to keep their class privileges.

Director: Rosa Lykiardopoulos.
Music Promo for Cesare vs Disorder. For THEMA RECORDINGS. Thema 16: Trojan Empire.

Director: Martín Seeger.
Piotr Herroll’s family had to leave Nacrovia and now lives in exile in Santiago de Chile. Young Piotr is sent to find work. A friend points him out that the Chilean State supports artists; so, he comes up with a play about the story of his unknown country. This carries several problems: he must have Chilean actors, who are less concerned about the meaning of his work. Also, his citizenship credentials are not very reliable. And the language barrier will result in a series of mix ups that will end altering the play. The film is spoken in a made up language, Nacrovese. The continuing use of subtitles is incorporated into the plot games, making Piotr Herroll a unpredictable hero and turning the film into a sharp comedy about the essence of the Chilean self.

Director: BRUNO ORTIZ LEON.
"HOSTAGES" IS THE HISTORY OF THE DIRECTOR OF THEATRE WHO MEETS INVOLVED IN THE EVENTS OF THE CAPTURE AND RESCUE OF THE RESIDENCE OF THE AMBASSADOR OF JAPAN IN PERU, A POLITICAL LOBBIE DURING THE GOVERNMENT OF ALBERTO FUJIMORI (1996 - ' 97). At the cost of THE LIFE GIVE 72 HOSTAGES IN A COMPASS OF WAIT GIVE 122 DAYS. SINOPSIS: Breve sinopsis de la película Rehenes (Toma de la residencia del embajador japones, Lima-Perú 1996-´97, durante el gobierno de Alberto Fujimori). Una de las embajadas más protegidas del cuerpo diplomático de Lima Perú durante el gobierno de Alberto Fujimori, es tomada por un grupo subversivo al que se había dado por extinguido. Situación gravísima para el país, que indudablemente el poder ejecutivo no dejaría pasar sin beneficiarse políticamente. Resulta asombroso que después de tantos años de violencia terrorista en el Perú, no existiera un dispositivo de estado que hubiera permitido reaccionar rápida y ordenadamente a las fuerzas de seguridad del país. Por ello Rehenes llevado a la pantalla grande por una reciente cinematografía peruana contrasta quizá con éste, uno de los sucesos mas trascendentes de las últimas décadas que se haya dado en nuestra convulsionada Latinoamérica. Un traumático compás de espera de 122 días, para socavar el subsuelo y penetrar a la residencia del embajador nipón se convierte en pretexto para que el gobierno central se auto confiera facultades extraordinarias. Una incursión perpetrada por el Movimiento Revolucionario Tupac Amaru MRTA, previa a las fiestas navideñas de 1996 el operativo de rescate a los rehenes encabezado por un servicio de inteligencia poco transparente a los 122 días de cautiverio son recreados por la ficción cinematográfica de Rehenes donde Mario miranda un joven audaz y transgresor periodista, intenta varias veces tener tribuna en distintos medios de comunicación sin éxito alguno, debido a que todo el país estaba parametrado. Nuestro Protagonista Mario Miranda quien también es director de teatro, prepara una obra sobre la toma de la embajada, pretendiendo revelar algo que va a remover el escenario social de su momento; los entretelones de un lobbie político a costa de la vida de 72 secuestrados, así como la transacción con la dictadura y la corrupción gubernamental por parte de varios de los subversivos del movimiento revolucionario. Mario aunque tiene sueños y pesadillas recurrentes, donde ve cadáveres, balaceras y fosas siente sin embargo que aún le falta un ingrediente para que su historia camine. Por otro lado, aparece lucía una joven y guapa actriz quien se une al elenco teatral para interpretar el papel de la camarada lucero impregnándole a sus actuaciones un fervor revolucionario que va mas allá del libreto teatral. Mario aclara que la obra no es un panfleto en favor de los subversivos. Todo ello ocurre en esta nuestra Lima: una franja gris de víctimas y agresores, que colisionarán en 90 minutos de ficción. ¡Ahh! pero lo que Mario no imagina es que a partir de este momento su vida va a verse seriamente amenazada. Bruno Ortiz León