Isadora Lis

In a remote corner of Santiago de Cuba, a family of Haitian origin celebrates the goddess Erzulie in prayer and dance. The family shares the pain resulting from the tragic history of Haitian migrants who work in the Cuban sugar industry.

In the Amazon, Fábio and Igor experience a territory of discovery during their youth. This journey is interrupted by the departure of Fábio to another city. Twenty years later they meet again and, between memories and silences, they realize that they no longer remember the territory they once lived, only the fragmented and constantly shifting sentimental map, like the waters of the Benfica River.

After years of not seeing each other, Irene meets her ex at a restaurant and he tries an unexpected rapprochement.

Javi shows up for the last time at a queer club where he works as a dancer, but he must deal with Castillo, a regular customer who resists the fact that he will never see him again.

In the town of San Antonio in Guerrero, Mexico, lives my mother, Amelia, a 60-year-old woman who leads a quiet life on her ranch, tending to the land and her husband. With the arrival of Holy Week, she is joined by my niece, Rosario, her granddaughter, whom she teaches about religious traditions. Their encounter quietly evokes questions about the role of women in my town. Despite the generational differences, they see themselves reflected in each other and share a deep desire to transform our destinies.

Lia, a twenty-six-year-old woman with a rising professional career, finds herself in one of the most classic situations there is: an unplanned pregnancy. From that moment on, doubts arise about whether or not she wants to go on carrying this embryo inside her.

A short film about the director’s relationship with sewing, a craft he knew from a very young age thanks to his seamstress mother.