Dulce Martina

Verónica is driven by a need to help people. When a cab she is riding in hits street kid Tato, she immediately brings him home and tends to his injuries. Her roommate Greta thinks Tato is trouble, but Verónica only sees someone in need of a hand.

Around a campfire in the Ngäbere language, Major Francisco Rodríguez tells the Ngäbe-Buglé community of La Casona the mythical story of "Los gigantes". His words merge with the recreation of the story, starring three women from different generations and some other people from that indigenous community, which inhabits the border territory between Costa Rica and Panama.

On a night like any other, a homeless person listens to a presidential speech offering housing to those who need it. The next day he wakes up in a strange and radiant city. During the afternoon, a builder raises the facade of his long-awaited house. Only the facade.

A group of colorful characters carry a mirror through the streets of San José and leave it in the Central Park of the city. A crowd moves around the mirror. A passerby shouts in front of his own image: "be attentive to what is coming!" The mirror reflects, transforms and deforms reality. Produces stories and mirages.

A boat crossing the Caribbean Sea. On board, Willem Dafoe opens a briefcase that casts a golden glow on Christopher Walken's face. In a fit of ambition, Walken snatches up a swordfish and plunges it into Dafoe's abdomen, causing him to writhe in pain. In his death throes, Dafoe grabs another swordfish and lops off Walken's head. As he descends into the deep sea, Walken's head will discover that ambition always knocks twice.

She wakes up slowly, confused between the caress of her husband and the sound of the radio. A moment later she gets up, tidies up the house, takes a bath, has breakfast, and leaves for work. In the afternoon she returns, prepares dinner and wakes up her husband. He helps her with some chores, takes a bath, eats and goes out to work. The story is too common. Like them, thousands of couples cross and estrange away, day after day.

San José of Costa Rica, beginning of the XXI century. A man with the appearance of an office worker travels alone in a train car. He accompanies his loneliness with an old tie until a woman in a yellow dress sits in front of him. Then a game full of curiosity, of small and unexpected disagreements, of closeness and silences begins between the two.

Francisco Coto was born in Alajuela in July 1924. A century later, he recalls some of his photographs in the studio he founded decades ago. Photographs like those that bring to the present the eruptions of the Irazú volcano, which began in March 1963, or the visit of John F. Kennedy during that same year, allowing us to see Costa Rica's recent history through different eyes.

A seven-year-old boy awakens when a voice announces that his father is suffering from a sudden illness. His modest daily life is then transformed by visions of a giant mosquito, masked sprayers producing thick smoke screens, and a woman who distributes warnings throughout the neighborhood.

At night, in front of a small Caribbean house, a sign advertises a repair service for the husband. Inside, a witch and her apprentice try without success with the repairman on duty: an excessively pale man with a Chaplinesque mustache. When the witch decides to go to sleep, irritated by her failure, the apprentice tries to demonstrate her skills with the help of a necklace, an old record player, and some dance steps.

A girl regularly leaves food at the door of her grandfather's room, who is ill. One day the grandfather does not open the door. Then the girl decides to enter.

Max, Álex, and Jaime decide to camp near the summit of the Irazú Volcano with the purpose of testing the telescope they inherited from Fidel. However, whether by whims of quantum physics or simply because the stars don’t always align as we wish, the night, the conversation, and the music lead the friends down unexpected paths.

A cinephile falls asleep during a projection and reality starts to confuse with dreams

Luisa and Antonio surrender to the game of keeping tricks up their sleeves, of disagreements and reconciliations. Luisa follows with curiosity the thread of the words while Antonio imagines a movie inhabited by Elsa and Miguel: some fictional characters blurred in the middle of a deep sentimental crisis; a he and a she confused and lost in the rainy labyrinth that sometimes we call love.

One morning, after a restless sleep, Gregorio wakes up a generous conversationalist who shares some of his biggest secrets.