On 18 July 1994, a bomb went off at the headquarters of AMIA, the Argentina-Israeli Mutual Association in the centre of Buenos Aires. AMIA was founded over a century ago as a friendly society, a not-for-profit NGO. Its mission is social welfare, caring for the elderly and the handicapped, spreading culture and improving the life of the members in its community. The assault occu...

On 18 July 1994, a bomb went off at the headquarters of AMIA, the Argentina-Israeli Mutual Association in the centre of Buenos Aires. AMIA was founded over a century ago as a friendly society, a not-for-profit NGO. Its mission is social welfare, caring for the elderly and the handicapped, spreading culture and improving the life of the members in its community. The assault occurred only a few days after the institution had celebrated its centenary and killed 85 people. Today it is still a mystery how and why the whole thing happened. A group of filmmakers have decided to make this film in homage to the memory of the victims and to demand that the truth be known. 18-J is a feature film comprising 10 shorts, 10 stories directed by 10 directors and produced by 10 production companies. All of the box office takings will be donated to 10 entities dedicated to social welfare.

The obscenity of stealing from a poverty-stricken people puts an end to the patience of an extremely pacific, tolerant man. Fernando is an idealist and, as such, has open veins when observing his society. Deceived by his militancy in the degraded left-wing, he finds no better solution than to take things into his own hands. The cynicism of a well-known politician who has become...

The obscenity of stealing from a poverty-stricken people puts an end to the patience of an extremely pacific, tolerant man. Fernando is an idealist and, as such, has open veins when observing his society. Deceived by his militancy in the degraded left-wing, he finds no better solution than to take things into his own hands. The cynicism of a well-known politician who has become rich with the country?s money pushes him to act. The friends accompanying him on the adventure have other reasons and together they confront their values in an extreme situation which could show us the complex face of reality.

In 1976-77, director José María Berzosa fixed up a way to approach General Pinochet during a trip to the Chilean Antarctica. On his return to Santiago, Pinochet agreed to meet a film team and, before the camera, talked about some of his memories and his political beliefs. Three of the principal members of the Junta -Admiral Merino, General Leigh and General Mendoza- also agre...

In 1976-77, director José María Berzosa fixed up a way to approach General Pinochet during a trip to the Chilean Antarctica. On his return to Santiago, Pinochet agreed to meet a film team and, before the camera, talked about some of his memories and his political beliefs. Three of the principal members of the Junta -Admiral Merino, General Leigh and General Mendoza- also agreed to talk before the camera of their artistic tastes, political ideas and family life. The interviews, held in an apparently cordial atmosphere, give an ironic, unconceding portrait of the main leaders of the Junta: their liking for order and efficacy, and their personification of a kind of "ordinary fascism". By way of a contrast, the families of the victims and disappeared depict a very different reality...

This story is a bit like taking a stroll through the scenes of life. Scenes showing artists with their music, and a geography with its people. The stages on which these artists perform aren?t static, but moving, travelling from village to village in the framework of a cultural project organized by the Regional Government of Extremadura. The geography, its people, named after a ...

This story is a bit like taking a stroll through the scenes of life. Scenes showing artists with their music, and a geography with its people. The stages on which these artists perform aren?t static, but moving, travelling from village to village in the framework of a cultural project organized by the Regional Government of Extremadura. The geography, its people, named after a cherry, an open smile and sweat: the villages of Extremadura. The music is reminiscent of the land and running water. Which is why it doesn?t need spotlights or sales gimmicks. It?s also why they?re always ready to sing, because they do it for pleasure, not for fame. A stroll through the human, social and political geography of a region and its people. A look at its dreams, its yearnings, its achievements, its desires. And also at its deceptions, its sufferings, its miseries and its silences.

As soon as we take an interest in the stormy relationship between artists and critics, the anecdotes are inexhaustible. Artists rarely forget the murderous little sentence that has marked them for life. But a critique can be good too, it can change an artist?s life, making him feel he has been understood, loved, penetrated. Something close to a psychoanalytical transfer. Curiou...

As soon as we take an interest in the stormy relationship between artists and critics, the anecdotes are inexhaustible. Artists rarely forget the murderous little sentence that has marked them for life. But a critique can be good too, it can change an artist?s life, making him feel he has been understood, loved, penetrated. Something close to a psychoanalytical transfer. Curiously, the relationship between an artist and a critic, although unavoidably public, is always intimate. This documentary looks at this relationship with testimonies by numerous film directors, critics, distributors and promoters.

Aristoteles described the brain of a newborn baby as ?a clean slate with nothing written on it?. The film reflects on the passing of time and the numerous influences received by a person from birth to death. It looks at the subject through the marks left by life on the skin. It is the aggressions of life which, either casually or intentionally, will change people?s physical asp...

Aristoteles described the brain of a newborn baby as ?a clean slate with nothing written on it?. The film reflects on the passing of time and the numerous influences received by a person from birth to death. It looks at the subject through the marks left by life on the skin. It is the aggressions of life which, either casually or intentionally, will change people?s physical aspect. It is only via this description of the physical map, almost geographic, of the person, that we will delve into the depths of the scars of the soul, those which apparently (but only apparently) don?t leave marks on the outside.