Aquí Estoy (2024)

Entre Líneas y Recuerdos

Red

Based on the true story of Louis "Red" Deutsch. A New Jersey bar-owner is plagued with prank phone calls that prompt him to flip into psychotic, profanity-laden rages.

Red

As the silhouette of a lonely girl runs through the woods, something in the shadows is lurking her.

Perdas, Danos & Piadas Melancólicas

Red

Three years living in Sunset Park, living between the BQE and the Greenwood Cemetery, accumulating footage of junkyard cats, Park Slope strollers, burned out cars, flying birds.

The Naked Diplomat

Félix, a somewhat clod-hopping young man, finds himself in the Grand Hotel of Little Lagonda, barefooted and in pyjamas. He is soon followed by a hooded, fat and leggy gangster. This is all the more strange as the hotel is under quarantine with the pretext of a plague-epidemic, in order to make it a suitable ground for the negotiations of certain oil-companies.

Gettin' In

A trio of clueless minors embark on a quest to get into the local bar, in the hopes of scoring with the opposite sex.

Panda

Jacob’s dream is to be a rap artist, so he works on a song that will give him the big breakthrough. To his big frustration, his dreams are tested every time his roomie Adam gets a visit from his girlfriend Frederikke. And through a journey of unforeseen events Jacob meets additional challenges that test his working discipline.

Happy Life

A woman embarks on a mission of self-disvovery after she suspects her workaholic husband of having an affair.

Crossfire: Hate Is Like a Gun

The making of Edward Dmytryk's "Crossfire"

Red

Red, a shy orphan who spent most of his childhood in a girly bar, grew up to be the town's best fixer. When a rich kid was gunned down in a drug bust that went wrong, Red was hired by Art, a spoiled socialite, to fix the mess.

Fangoria's Weekend of Horrors

Actors, directors and special effects technicians are interviewed at a horror-film convention.

Look What You Made Me Do

“When I told my mother a boy was hitting me on the playground, she said: ‘That’s because he likes you.’” So begins this exposé about femicide, with the sentence appearing in black letters on a bright red background. The film shows three women who survived abusive relationships—by becoming murderers themselves. Laura from Finland, Rachel from the Netherlands and Rosalba from Italy explain how and, more importantly, why they killed their partners. One speaks eloquently, another haltingly, but all three are candid.