This film documents the life of a family of brick makers in the outskirts of Bogotá, using the personal experience of the Castañeda family to expose the exploitation of manual laborers. Marta Rodríguez and Jorge Silva worked on this documentary from 1966 to 1972, establishing a relationship with the family which allows the viewer an intimate look at their hardships.

A salesman comes to town offering an extraordinary merchandise: to realize the dreams of its inhabitants, though, for a small fee. However, the locals do not have time to fantasize, more busy with their chores.

A documentary on the massacre of Planas in the Colombian east plains in 1970. An Indigenous community formed a cooperative to defend their rights from settlers and colonists, but the government organized a military operation to protect the latter and foreign companies.

The struggles of the community of the Coconuco indigenous reservation in Cauca, which by the eighteenth-century royal card is entitled to 10,000 hectares, and in 1971 it barely has 1,500.

The struggles of the community of the Coconuco indigenous reservation in Cauca, which by the eighteenth-century royal card is entitled to 10,000 hectares, and in 1971 it barely has 1,500.

The struggles of the community of the Coconuco indigenous reservation in Cauca, which by the eighteenth-century royal card is entitled to 10,000 hectares, and in 1971 it barely has 1,500.

The struggles of the community of the Coconuco indigenous reservation in Cauca, which by the eighteenth-century royal card is entitled to 10,000 hectares, and in 1971 it barely has 1,500.

Nine young friends get lost on their way to spending April Fools Day together. Instead of letting the entire trip go to waste, they decide to go party at an old abandoned inn called 12 Hills. Rumor has it that the place has curse that comes to life every April 1st. Despite the warnings from the locals, the friends decide to go ahead with their April Fools Day plan. It's all partying, sex and alcohol until victims of sick, deadly jokes start to appear.

An experimental documentary that dares to gather diverse and plural audiovisual archive materials, which gives itself the possibility of creating an imaginary, but concrete, intense and profound conversation between the filmmaker Marta Rodríguez and the indefinable Camilo Torres Restrepo. A film that invents the opportunity to talk to a dead man, why yes, Camilo died, but his questions, his ideas and his effective love remain strong and powerful within Marta's life and political and artistic reflection. Who was Camilo Torres Restrepo? The documentary tries to answer this question by looking at Colombia today, analyzing it, and understanding it, perhaps a little more, in its inequalities and its constant violence. Perhaps this is the greatest legacy that Camilo left to those who are still alive.

When Liliana decides to return to Uruguay she will have to face up to a new dilemma, perhaps the last great dilemma of her life: To choose between supporting a collective case for female prisoners, raped during the time of the dictatorship, or to reconcile with her son and be able to live peacefully as a mother and a grandmother.