Mario Handler

In 16th-century Spanish America, a Dominican friar named Santiago survives a brutal expedition and is absorbed into a Carib tribe. When he flees tribal conflict only to be captured by Spanish forces accused of heresy, he is forced to confront the clash between his ideals and the violence of conquest.

The documentary delves into the intimate, labor, and political life of diverse characters to testify to the problems of inequality, exploitation, and instability in the work relations of some labor sectors.

A documentary about the building of a damn near Caño Mánamo and the effects it has on the environment.

Documentary on the electoral system in Uruguay. It focused on the upcoming federal elections, criticizing both of the country's political parties.

TV Movie based on the life of Antonio José de Sucre, the Gran Mariscal de Ayacucho

Documentary short film by Mario Handler about the city of Prague as part of an internship to study film in Europe.

The confrontation between two families over possession of the land gradually becomes a great slaughter where almost all the members of one the sides dies. One of the survivor will take justice into his own hands.

Existential confrontations are unleashed while people try to survival within a concret jungle. Such conflict gets worst when the person is near his fifties and finds himself empty-handed, without a real company, full of frustrations that hound him.

A living room, two video cameras, an armchair, two televisions and a mirror: domestic daily life in which colleagues, family and friends come together to decipher the life, personality and artistic trajectory of one of the most important actresses of Venezuelan Cinema: Hilda Vera

Raoul Ruiz shot this film on March 28th, 1971, during the big peasant march in Temuco, Chile, when the bill that gave the full citizenship and civil rights to the Mapuche Indio people was approved. Raoul Ruiz listens to their painful stories.

Rare images of real life stories in the so-called "asentamientos" in the poor underbelly of Uruguay's capital, Montevideo, and in its youth jails. The difficulties of finding a job and scraping together some money, the temptations of crime and its harsh consequences, the lack of culture and knowledge of the basics of life, are all intertwined in parallel lives.

After a long exile in Venezuela, filmmaker Mario Handler returns to his country, Uruguay. There, the dictatorship is still present in the media, public opinion, and in the memory of people. The director feels he owes something to the comrades, those who could not leave the country. This debt translates into poetry, black humor and conscience, in a sharp and accurate atmosphere of this dark time of Uruguay.

The story of seven prostitutes traveling in a truck, town to town, selling their show in local festivities inside an old circus tent. The authorities demand bribes in order to keep the order in town.

Three centuries of Venezuela's history as a Spanish colony are considered from economic, political and social standpoints; evocations of the past are compared to the present. Based on the ideas and research of Federico Brito Figueroa, Alfredo A. Alfonso, Miguel A. Saignes, Josefina Jordan, and Thaelman Urgelles among others.

After several close calls with death squads, Mario Handler fled Uruguay in 1973 and eventually settled in Venezuela where he lived and continued to make films before returning to Uruguay in recent years. The first film he completed in exile, Dos puertos y un cerro is an essay film about the imbalances of trade. A narrator dispassionately recounts in voice-over a brief summation of Venezuela's situation as a hub port in the establishment of the colonial system in the sixteenth-century.

Ricardo Azolar is looking for the right words, the exact phrases that will give him literary glory. The days are sterile and lacking in those brilliant ideas that should allow him to express through narrative, the fertile flow arising from the imagination. Until he meets Lisbeth, venus and intoxicating muse who nevertheless compels him to write irrelevant and devoid of any imagination literary texts.

Liber Arce, a student, was killed by the police in a protest march. His funeral became the largest demonstration held in Montevideo. The events leading up to and after this event are portrayed.

Students protest during the Chiefs of State conference at Punta del Este. Counterpoint between presidents, students and repressive policemen.

The "caminante" refers to a hobo who roams the countryside, a nomenclature preferred by Carlos, who once traveled all over Uruguay before becoming a homeless vagabond, or "bichiome", in the city of Montevideo. The film presents a portrait of society through the life of one marginalized individual.

Documentary made from the record of five manifestations of Uruguayan children's folklore: «El rango», «La rayuela», «Andelito de oro», «La farolera» and «San Severín del monte» / «Los oficios».

After the meat industry workers stop receiving 2 kilograms of meat a day as a part of their salary, they organize the biggest strike in Uruguayan history. Images of farms. Meeting at the workers' society. Relations between the Uruguayan economic and political leaders and the United States. Scenes of decay and misery. Workers' demonstrations. Clashes between police and demonstrators.