A tribe of Venezuelan Indians in the jungle, commanded by chief Coromoto live with fear because of the presence of a Spanish colony settled in the outskirts. Coromoto's fears are increased because of the presence of a snake and the prophecies of the sorcerers. His government is threatened by the rebellious character of Piache, a warrior who also has his followers. One day Coromoto and his people have a vision in the lake of the Virgin Mary, but he doesn't trust on it, thinking that it's a negative spirit despite its beauty. However, the tribe exiled a woman, Guaita and his little son Jesus. Guaita and Jesus run away to the Spanish colony, where they're received in the local governor's house. The governor and a soldier, Bartolome offer to help Guaita and Jesus. Maybe the father of the child is a Spaniard known by Bartolome and his brother.

Censored film by Arturo Plascencia, with music by Lila Morillo and Estelita del Llano.

Irreverent and experimental film, rich on Christian symbolism.

Musical comedy by Fraíz Grijalba.

Narrates the story of a homeless shoeshine boy who lives under a bridge.

Mayami Nuestro goes beyond the slogan "tá barato, dame dos" (“it’s cheap, give me two”) to force a rethinking of Venezuela’s relationship with oil and national identity. Produced at the height of the oil boom, this 34-minute documentary examines Venezuelan lifestyles in the 1970s and early 1980s, questioning the consumerist fantasies fueled by petro-wealth. Through interviews with merchants, bankers, U.S. academics, and the testimonies of Venezuelans themselves, the film maps the era’s version of the “American Dream” as lived—and projected—abroad. Winner of national and international awards and directed by Carlos Oteyza, Mayami nuestro offers a sharp, historically grounded critique and an open invitation for new generations to reflect on the legacy of oil and its cultural consequences.