Within the section Horizontes latinos, the film of the argentina Sol Berruezo Mama, Mama, Mama has been screened. The young director’s first feature film has shocked the public and the whole team has come out between applause to tell what surrounds the film. The work portrays the effervescent female universe that is outside the framework of the adult world, in those steps from childhood to adolescence.

The film starts with an accident: Cleo's sister is drowned in the pool. The mother and aunt will put the facts out of play and will have to manage the emotions that have caused them between Cleo and Sole, although otherwise the changes that may come to them. Far from the decaffeinated explanations filtering adults, they explain how they see things; the film talks about the maturity of children and the childhood of adults. Breaking the dichotomy of reality and fantasy, girls will analyze and value everything that happens and take the necessary measures. A film that manages to connect with one’s own experiences, keeping a distance of size with the actors for a while to turn them into one of them. It is a film at a good pace that ends before you feel tempted by your desire. Beautiful and that leaves you wanting more.

Where is Miguel? The screening and presentation of the film has also been warmly welcomed. The work of the directors Amaia Merino and Miguel Ángel called "Pitu", which has been seen in the Zinemira section, inquires into the archive and memory of the murder of Mikel Zabraise to approach his question entitled. The event, 35 years ago, remains unclear, as the official version has not provided any convincing argument. Standing up, the public has applauded the work of the directors, as well as the dignity of Mikel’s family and its surroundings.

The film creates a structure that moves day by day, to classify the stock images and chronologically understand what happened. At the same time, the late Ion Arretxe makes explicit recognition of the torture in which he was arrested alongside Mikel, mixing reflections, with complete awareness of them. And how it influences. A reality chute that comes from the screen, to refresh and land the memory. In the dismantling of Itziar's son, interesting nuances suddenly emerge. The third leg of the film is starred by Zabraise's nephews, who don't talk about events, but about emotions. In their words, the lights and shadows of the transmission of historical and family memory can be understood; young people believe that the official version will be lost, but not the truth. The film, based on dialogue and archive, tells what happened in the rough, perhaps because this issue needs it if it is not recognized.

The day is over with the short Dustin and the long Ping Jing from the Zabaltegi-Tabakalera section. The first is a French production by Naïla Guiguet, which depicts different moments of a party. Work on transsexuality and pleasure, which tracks the party of a group of friends. As nights advance, collective hysteria becomes a sweet melancholy, and euphoria becomes a yearning for tenderness. The film shows the same rhythm as techno music, choosing plans and durations through the feeling of a night of entertainment. All the suggested stories remain in the air until the end of the film, leaving the feeling of a photo in the body. From then on we left the screen. A sweet piece that gives the impression of knowing close to what is built.

Then the Chinese movie Ping Jing has passed. Director Song Fang is the protagonist of a woman who has just broken with her usual partner and who, at the same time, is a filmmaker. By telling a friend, and seeing the incompetent attitude of the other, he decides to go through the crisis alone, maintaining the weakness of others as he does with his own. The film is presented in the attenporality of these passages of life, at a slow pace, due to the lack of emotion of a stoic character. The camera, however, is often too far away to create connection to what happens to it and becomes heavy for the end. Although these general plans bear witness to the emotional distance that the protagonist constructs with respect to the world, the intention is more conceptual than material. Maybe it was missing at some point, like a climax, a kind of explosion, or the ability to bring things raw.