Rolando Díaz's comedic Melodrama follows Esperanza, a dying newscaster, desperate to have a child through whatever means necessary - even if it means bypassing her husband and sleeping with her fellow coworker or a local librarian.

A painful true story of a revolutionary Andian warrior whose strength and devotion to his people influenced many in Latin America, Africa and the West.

Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.

A young Cuban couple gets lost, and searching for a place to stay the night, enters the home of M. Wong and Madame Tsu, who have sinister plans for them.

The killing of a fiery young teacher sets Detective Mario Conde on the trail of a drug kingpin with ties to the high school he once attended.

The 50-minute "Madagascar" has the resonance and eloquence of the best poetry, as it deftly turns an adolescent's search for identity into a metaphor for socialist Cuba. Laura is a professor at a shabby, stultifying college. Her daughter, Laurita, stops going to school, wishes to move to Madagascar and quickly races through several phases. One day, she looks like a heavy-metal fan, another like a bohemian who weeps at poetry and art. Slowly, she crosses the line from ordinary adolescent confusion to intense neurosis and beyond, finally becoming so obsessed with religion and good works that she brings 10 homeless children into the cramped house she shares with her mother and grandmother.

Simón transports illegal immigrants to New York, leaving them to their fate. When he is discovered by the coastguard, a young sailor, named Andrés saves his life. But when Andrés falls for Marie—a young protegée of Simón's—conflict erupts.

Río Negro is the struggle of two men, Osuna and Funes, hungry for power and wealth in a small town in Venezuela, during the dictatorship of Juan Vicente Gómez

Mercedes and Pedro, Cuban producers and screenwriters, travel to Spain to close an agreement with Alberto, a Spanish producer. Together, they try to make a film about Cuban reality. A movie about those who leave the island, those who return, but also those who still want to leave but cannot. A simple idea that will slowly become more complicated because Spaniards and Cubans have a very different point of view on this reality.

Set in the early 1900s, this film charts the rule of a Latin American dictator as he moves from being a charming despot to a tyrannical ruler before he is finally ousted, only to die in obscurity in Paris. Early in his regime, the resources and agricultural products his country sells command high prices, and he is a reasonably confident, even gentle, ruler who likes to take long vacations with his daughter in Paris. After World War I, with falling prices and a number of coup attempts behind him, his rule becomes quite cruel.

A film director uses a South American premiere of his latest picture to reconnect with his old friends from the Warsaw Uprising, the protagonists of his movie.

In the aftermath of the Bay of Pigs incident, Sergio chooses to stay behind in Cuba while his wife and family escape to neighboring Miami. Alone in a brave new world, Sergio observes the constant threat of foreign invasion while chasing young women all over Havana. He finally meets Elena, a young girl he seeks to mould into the image of his ex-wife, but at what cost to himself?

Ana is a telenovela actress but because of financial troubles resorts to producing a prostitution documentary under false pretences.

A pious plantation owner attempts to teach Christianity to 12 of his slaves by inviting them to participate in a reenactment of the Last Supper.

The movie follows the life of Enrique Aet, an engineer whose main obsession is to improve communications between the Peruvian jungle and Lima.

Two adolescents, Sauly and Mick, get to know each other while hitchhiking and stick together for the long haul. They both want to reach the ocean, which is some thousand kilometers away. An old car picks them up, but the trip ends shortly thereafter in a sleazy motel. At the bar, a man named Landolfi approaches them. He explains to Sauly that he must have sold his guardian angel to a man by the name of Miller in the city of Prince. Though the boys do not believe in guardian angels, Sauly slowly succumbs to his own fears. He would like to have his guardian angel back again. On their trip, Sauly becomes sick. Mick works on a farm to pay the doctor's bills. Once Sauly is well, they travel farther - until they reach Prince. In this mysterious city, all of the people are named Miller, and once Sauly and Mick finally are at the ocean, they meet Landolfi once more.

After a restless night he is awoken by his doorbell insistently ringing. Through the peephole, he sees a stranger. He doesn't know why that man is there but is immediately certain of one thing: he represents a terrible threat. He quickly dresses and manages to sneak away, no doubt in his mind that the stranger is pursuing him, and that the nightmare has only just begun.