If We Don't Burn, How Do We Light Up the Night

When a mysterious light invades socially awkward Lila, she encounters its source: a cyborg who comes to remind her who she was in a past life.

Hernandez had already made films in Guatemala and Mexico and this time found inspiring locations, unusual atmosphere and enthusiastic young people in Costa Rica. In this consciously unpolished film, the rebellious girls Sole and Ana open the trunk of a car in grandma’s garden and find something they’d rather immediately forget.

While an exodus of migrants waits to cross the deadly Altar Desert towards the US, the last Natives of the desert survive a diaspora that has them on the verge of vanishing.

Through landscapes fueled by silence, resentment and brief moments of joy, Ale, a seventeen-year-old woman, will try to protect her two younger siblings from the seething truth, their mother has left them and is not coming back.

Documentary short about Mexico's femicide crisis.

Documentary short about Mexico's femicide crisis.

Documentary short about Mexico's femicide crisis.

A machine that contains a ghost. From two eyes to one eye. The same four limbs. The artificial body. The appearance of things, their incandescence. The light on the screen feels more alive than ever. The satellite guides me. Through a transmutation exercise a human in old age performs a ritual that allows him to deposit his essence in the body of a drone. In the gaze of the machine, a new illusion is reconfigured.

Miriam, a 13-year-old teenager, will do whatever it takes to attend a party, even if that means risking her little brother's life.

Faced with the possibility of electing a president with a past of sexual harassment, four Costa Rican filmmakers come together to produce a series of film letters in which they express their discontent, their fears, and their experiences, but at the same time, the invincible power of union that characterizes women in dark times. Each card expresses a different perspective on the experience of women in this patriarchal society.

Through the quiet rhythms of everyday life and her imagination, Chunyan drifts between two worlds—her hometown of Enping, China, and her new home in Manzanillo, on Costa Rica’s Caribbean coast.

In the small coastal town of Manzanillo, Costa Rica, local teens and adolescents share their stories, lies, and fantasies on the cusp of a cataclysmic event. Playing amid ruins and wreckages, and voicing their boredom at the lack of change, Manzanillo’s children engage in a collective fabulation, finding strategies for building a new world from the old.