Black María

Portugal's countryside is everyday more isolated and lonesome. In its empty roads, a mysterious man (Miguel Damião) drives around gathering sticks, stones - and victims. But what is this sinister figure working on?

A video showing a young man's death at the hands of the police for not wearing a face mask sparks protests, resulting in the illegal detention of many youths. Two of them recount and reenact the violence during the demonstrations, but their story is challenged by the testimonies of a police officer and the Governor.

It's Friday morning at Panamerican Machinery Inc., a company specialising in selling and repairing machines for construction and destruction. The employees are already winding down for the weekend, engaging in little rituals and routines when an unexpected turn of events shakes their peaceful monotony. Don Alejandro, the boss, lies dead at the back of the warehouse.

A young motorcyclist rides and rides in circles on his motorcycle. The more he rides, the more beautiful he gets. Is his beauty his, or does his beauty belongs to the others? Is he playing the game of the world, or is the world playing his game? Where does he ends and the world begins? Is he inside of himself or is he outside of himself? And is there such a thing as being "inside" or "outside" when you are THIS beautiful?

The film is not constructed as a lineal story, instead, each scene works as a painter’s brush freely tracing a distinctive shape; the lifestyle of the Raramuri people, the particular way in which they relate within the family, the community and their surrounding nature. Nararachi’s warm, intimate and profoundly human insight of the indigenous lifestyle and culture is so powerful that it enables the viewer to expand her horizon.

A 17-year-old recounts his experience of quarantine over the past five months, from the very beginning. An intimate portrait of the feelings, hopes, and lessons learned during the current pandemic.