Karibe con tempo

Film by Julio Neri.

A hazardous encounter leads América and Juan Pedro to recognize in each other the unsuspicious emotion of the first love. Young and innocent identified with their artistic devotion -he is a composer, she a dancer- they overstep the bound of their shared feeling, joyful and without great fears. They never imagined that their openhearted and pure love could hide a stain: that of racial prejudice.

In the wake of a banking crisis, four middle class friends throw a 'white glove' hold up, only to find out that their bank has already gone bankrupt.

Tierna es la Noche is a film without bullets nor sea, without mosquitoes, without peasants nor flowers. It only contains a barman, a man and a beautiful woman who lives in a bathroom. For commercial reasons, we have included two policemen, a drop of blood and a multilingual nymphomaniac. For aesthetic reasons, a tear and a black man. For both reasons, the film takes place anachronically, during the fifties and nineties in a make-believe city called Caracas. It's a story of histerics, like all stories, unfinished.

Salserín, la primera vez, candidly recounts a story of teenage love framed in the genesis of a salsa band that was once a musical phenomenon in the mid-nineties.

This is the first of Diego Risquez’ trilogy of avant-garde cinematic treatments of historical subjects. Using a painterly style, it features portraits, still lifes, and scenes shot as tableaux vivants, the film provides an experimental interpretation of the arrival of the Spanish and their domination of the New World, as well as the Venezuelan Independence movement, focusing on the role of Simón Bolívar. There is no dialogue or narration, simply a musical score and the depiction of events from Bolívar’s career.

Short film by Diego Rísquez.

In 1856, a whaler arrives in Paita, Peru; on board is Herman Melville, who is astonished to learn that Manuela Sáenz, for eight years the lover of Simón Bolívar, is still alive. He calls on her, and although she will not talk to him about her life, his visit sends her to her chest of Bolívar's letters. As she reads them, the sepia-toned present gives way to flashbacks in color: she meets 'the Liberator' in 1822, becomes his lover, and also becomes a colonel in his military movement to realize the 'Gran Colombia', one nation across South America. As plague (brought by the ship) closes in on Manuela's household, so does her tempestuous story move toward Bolívar's betrayal and death.

Eleven-year-old petty criminal Maroa lives with her violent grandmother Brigida in Caracas. After her boyfriend Carlos is involved in a shooting, Maroa is arrested and sent to a school where Joaquin conducts the youth orchestra, and he asks the naturally talented Maroa to join. Days now revolve around the classes that Joaquin, the shy and unconventional teacher, gives her. He is immediately interested in this talented young girl, who lacks all notion of discipline. Joaquin, the only person to offer hope in the midst of her rejection, finds that through Maroa, his world has also changed forever.

Ten years after General Antonio José de Sucre - Grand Marshal of Ayacucho- was murdered in the Berruecos jungle, Colombia. The inquiry into his death is reopened, Captain Alejandro Godoy take charge as prosecutor. Several political motives mean that the case must definitively be drawn to a close. Godoy discovers that a large part of the documentation produced during the original inquiry has been destroyed. With his own life in danger, Godoy discovers a highly intricate plot that put an end to Sucre's life.

This low-budget avant garde feature uses no dialogue in telling the story of the reaction of the Spanish court after the initial exploration of America. A botanist revels in his collection of new plants. A native is baptized in a church ceremony, and nuns and court jesters appear throughout this rambling feature.

The Orinoko: main character in the film. The first part is set during the pre-conquest and is represented as an earthly paradise. A shaman has precognitive visions: go to Columbus and the Catholic missionary in 1498.

In 1750, in the glare of the Caribbean, the man who created history known as the forerunner of independence in Venezuela. His name is Francisco de Miranda and, to be exact, is the largest globetrotter who has known the Americas, Miranda has a reputation as an inveterate wanderer, an eternal conspirator, a turncoat, a conqueror of nobles and courtiers, a lover of asylums, libraries, prisons and brothels, has written 63 volumes of his autobiography, a friend of princes, military and world-renowned artists, collector of women and unthinkable dreams, restless fugitive, owner of ten different names, and presented by the British press the moment as the future liberator of Spanish America.

It is a love story that takes place between 1924 and 1954 on the shore of the Caribbean Seawhere we discover the universe of the great Venezuelan artist Armando Reveron, his relationship with his muse Juanita and inseparable companion, the friends who frequent the building andrecreation of the objects that make up his world, his obsession with tropical light that blinds. We will see the development of his mental illness and the universe playful, emotional and painful inthis magical space called The Castillete.

Reel 21 of Gérard Courant’s on-going Cinematon series.

Beginning with his childhood and covering the many facets that characterized his intellectual universe, this documentary details the different aspects of the most important venezuelan writer of the 60s, 70s and 80s: José Ignacio Cabrujas.