Police try to hunt down a serial killer in 1912 Buenos Aires.

Isaki Lacuesta documentary conceived in collaboration with painter Miquel Barceló. The artist, who lives long periods in Africa, has learned to paint from termites and scorpions, adapting to the conditions of a wild environment. Lacuesta enters the African workshop and film performance Barceló "Pasodoble" represented in the village of Gogolí (Mali). The arrival of the film crew revolutionize the village and arouse the curiosity of their people.

María Cartagena is a seasonal worker in the fruit fields of an arid valley in northern Chile, to bring sustenance to her daughter and disabled husband. During the hard workday she overcomes abuse and mistreatment driven by a powerful motivation: saving enough money to visit her brother’s grave, one of the disappeared after the Pinochet coup.

A group of filmmakers travel to a Kolla community in Salta to film their folkways. We see all aspects of their life: farming, herding, cooking, football, and making music during a Pachamama festival. In the course of filming, the leader of the Kolla community changes the filmmakers' view of what the documentary should be, and at the end of their visit they are changed. "La vida se puede ir amasando, como el barro": As life goes along, it becomes more pliant, like clay. An announcement at the beginning of the film states that this is neither fiction nor documentary, but I'd say it's closer to documentary.

Talking and singing through his cell phone, Mestre Assis Calixto, a living legend of the Brazilian state of Pernambuco, interacts with children via the internet.

Bucolic, delicate and sensitive, the short film Poética de Barro, animated in stop motion with clays from the Valley of the Widows of Live Husbands (Jequitinhonha), based on the work of ceramists from Minas Gerais and with an original track composed of ceramic instruments, depicts the saga of a small creature, which needs to survive the vicissitudes of life. If all barriers will be overcome, just watch to find out.

This film was reconstructed and completed in 1995 by Javier Codesal for the Filmoteca de Andalucia, from the montage and the sound that Val del Omar had outlined before his death, after having returned to a project abandoned twenty years before with the incorporation of significant additions (above all in the soundtrack). Val del Omar's notes show that, as he typically did, he had other alternative titles in mind, such as "Acariño de la Terra Meiga" (Caress of the Magic Land), "Acariño a nosa terra" (Caress of Our Land), or "Barro de ánimas" (Clay of Souls), and that in the final phase of the unfinished project he wanted to add a second sound channel – following the diaphonic principle, and using electro-acoustic techniques – consisting of ambient material that he intended to record at the first screenings of the film in the very places and to the very people that were its origin: its "clay".

"Som de Adoradores" is a live album by Aline Barros released in 2004, being the first by the label MK Music. It was recorded at 'Comunidade Internacional Zona Sul', and nominated for a Latin Grammy 2005. It's one of the singer's best-selling albums, selling over 500,000 copies, being certified diamond by ABPD. In 2005 the singer recorded a DVD for the album in Rio de Janeiro, which was also certified diamond. All the tracks on the album were successful, being played on the radio and sung in churches in Brazil and abroad.

Chronicles the life of the João-de-Barro bird.

Manuel, a young man of eighteen, arrives in Madrid with the illusion of being a bullfighter. On arrival he meets Juan a ruined singer in his fifties who, along with his friend Lola, will help the boy to get a chance to bullfight in a probe at the estate of a famous businessman.

"Caminho de Milagres" is the second live album by Aline Barros. The CD was recorded on November 25, 2006, in Rio de Janeiro. And the DVD was recorded on June 7, 2008 at Maracanãzinho. The album won the Latin Grammy for "Best Christian Music Album in Portuguese Language" in 2007.

El Barro de la Revolución takes place in the Philippine rainforest and reveals the inner life, without the usual mandate of the camera, of the military, social, political, emotional and educational actions of one of the guerrilla units that Polo visits with his complicity. It is a shared and solidary project, which shapes a story in which the daily duties and urgencies acquire an extreme political and poetic relevance. In short, and from our perspective as spectators, we are once again questioned about the indissoluble condition of the intimate and personal in the political sphere.