A priest secretly leads rebels in their struggle against the corrupt military dictatorship of the Central American country of Puerto Santo.
Pocho Martin's body is found dead on the shore of a fishing village. According to the forensic Ramiro, Pocho has been assassinated, which alerts the Commissioner Carlos (Mayans). Young Silvia (Analia Ivars), Pocho's friend, receives the sad news but is more concerned about her impending wedding with Andy (José Llamas). Crackpot Oscar speaks to Carlos of the dangerous sirens of Deer Island, evil women who attract sailors and annihilate them. When Ramiro and Carlos go to the island, they find the sisters Lila and Mary (Eva Leon and Lina Romay), who run a tavern / brothel near the beach. Carlos and Lila are old acquaintances and celebrate the reunion, but the murder of Pocho remains unsolved.
Festive Land examines one of the largest and most extraordinary popular celebrations in the world, the week-long Carnival that brings more than two million people to the streets of Salvador, the capital of Bahia, in northeastern Brazil. Carnival is the most expressive showcase of the unique cultural richness of Bahia, where African culture has survived, prospered, and evolved, mixing with other Brazilian influences to create forms found nowhere else in the world. The film captures this unique cultural energy through extraordinary footage of musical performances, dances, religious manifestations, and street celebrations. At the same time, Carnival reflects the racial and social tensions of Brazil's heterogeneous society. At first glance there appear to be two million people chaotically mixed on the streets, but a more detailed look reveals how patterns of segregation driven by racial, social and economic differences continue in Carnival.
A secret agent is dispatched to find a rare and valuable drug.
Through folklore manifestations and diverse artistic expressions, the film is a document that exalts and honors the Bahian culture.
Devoted lifeguard Mitch Buchannon butts heads with a brash new recruit. Together, they uncover a local criminal plot that threatens the future of the Bay.
Two million fish washed ashore. One thousand blackbirds dropped from the sky. On July 4, 2009 a deadly menace swept through the quaint seaside town of Claridge, Maryland, but the harrowing story of what happened that Independence Day has never been told—until now. The authorities believed they had buried the truth about the tragedy that claimed over 700 human lives. Now, three years later, a reporter has emerged with footage revealing the cover-up and an unimaginable killer: a mysterious parasitic outbreak. Told from the perspective of those who were there and saw what happened, The Bay unfolds over 24 hours through people's iPhones, Androids, 911 calls, webcams, and whatever else could be used to document the nightmare in Claridge. What follows is a nerve-shredding tale of a small town plunged into absolute terror.
Mario starts working as a pianist in a party hall in Palma de Mallorca, where hi finds two girls, an old pupil, and Clara, who will get to conquer him.
Deutrudes Carlos da Rocha, a 24-year-old Brazilian, black, illiterate, is a car washer and lives in São Paulo. Through his testimony and also holding the camera, he brings us closer to his experience and vision of the world.
Sob o Céu da Bahia is a 1956 Brazilian adventure film directed by Ernesto Remani. It was entered into the 1956 Cannes Film Festival.
For Donald's birthday he receives a box with three gifts inside. The gifts, a movie projector, a pop-up book, and a pinata, each take Donald on wild adventures through Mexico and South America.
It is said that in the year of 1492, the first European ship led by Christopher Columbus, disembarked on the coast of Samaná, present-day Dominican Republic, and was received by a rain of arrows carefully plotted by the Caribbean Taíno. Presently, a saline lake named after the Taíno chief Enriquillo witnesses profound eco-systemic changes leading to species migration, forced evacuation and an expanding choral desert revealing the lake’s geologic past. Taking the camera itself as an arrow, a foreign body, Amérika: Bay of Arrows looks for ways in which to animate, to awaken, to make vibrate again this gesture in the present - arrows against a perpetual “falling sky”.