The Cooperación Española award goes to the Ibero-American film making the greatest contribution to development

Para la guerra (To War)

Francisco Marise (Argentina - Spain)

Para la guerra explores the memory and loneliness of a former Cuban internationalist soldier by observing his body and his (extra)ordinary gestures. This is a war film with no shooting, but with a wound: that of this special forces veteran who tries to find the colleagues of his commando who survived their last mission 30 years ago.

El Motoarrebatador (The Snatch Thief)

Agustín Toscano (Argentina - Uruguay - France)

IV Europe-Latin America Co-production Forum

In the Argentinian city of Tucumán, Miguel makes a living as a motochorro, a thief who snatches people's belongings from his motorbike. Stealing her bag from Elena, an old woman, he ends up hurting her badly. After the brutal incident, Miguel is plagued by guilt and can't get his victim out of his mind. In an attempt to do the right thing, he conceals his true identity from the Elena and starts looking after the injured and unsuspecting old woman. The closer he gets to her, the more he becomes entangled in his own lies. Afraid of telling Elena the truth, and still haunted by the past, Miguel is unable to find true redemption.

© Pyramide International

Los silencios

Beatriz Seigner (Brazil - France - Colombia)

Films in Progress 33

Nuria, Fabio and their mother Amparo arrive on a small island in the middle of the Amazon Jungle, on the border between Brazil, Colombia and Peru. They have escaped from the Colombian armed conflict in which their father disappeared. One day, he reappears in their new house. The family is haunted by this strange secret and discovers that the island is inhabited by ghosts.

Marilyn

Martín Rodríguez Redondo (Argentina - Chile)

III Europe-Latin America Co-production Forum Films in Progress 31

Marcos, a 17 year-old farmhand, discovers his sexuality in a hostile atmosphere. Nicknamed "Marilyn" by the other village teenagers, he becomes an object of desire and discrimination. Marcos feels increasingly more penned in.

Teatro de guerra (Theatre of War)

Lola Arias (Argentina - Spain - Germany)

In 1982, Argentina and UK fought the Falklands War. The war ended with the British military victory and took about 1,000 lives from both sides. While the conflict took place years ago, the sovereignty of the islands is still in dispute. Theatre of War tells the story of how six veterans from the Falklands War came together to make a film. Almost thirty-five years after the conflict, three British and three Argentine veterans spent months together discussing their war memories. This film is a way of showing the whole social experiment of making an artistic project with one-time enemies of war: the auditions to find the protagonists, the first meetings and discussions with them, the theatrical re-enactments of their memories in different scenarios: a swimming pool, a construction site, a military regiment. All the scenes in the film are at the same time authentic and artificial.

Pájaros de verano (Birds of Passage)

Ciro Guerra, Cristina Gallego (Colombia - Mexico - Denmark - France)

Based on a true story explaining the origin of drug trafficking in Colombia, the film takes place in the '70s when North American youths are embracing the hippie culture and, with it, marijuana. The upshot is that the local farmers almost instantly morph into "entrepreneurs". In the Guajira desert, a Wayuu Native American family finds itself forced to assume a role of leadership in this new enterprise. Wealth and power combine with a war between brothers which will seriously endanger their family, their lives and their ancestral traditions.