The Japanese Akio Fujimoto has its second feature film, Umibe no kanojotachi, which has its own production. Fujimoto draws the story of three Vietnamese girls living and working paperless in Japan.

The other two will try to get the patient to see a doctor when one of them gets sick, while Social Security only protects patients with paper. The Japanese director constructs an unusual scenario in films within migration for work: the trio alliance to preserve mutual vulnerability is not lost in the clichés and is convincing. Given the precariousness that the circumstances require, they do not appear victimized, but in the attitude of what they can overcome in the group.

The discomfort manifested is also noticeable in the environment, supported by the natural movements of the hand chamber, light and landscape. Migrant men have come to the screen more often than women, and the director delicately draws the specificity of the situation of the protagonists. In total, the time inside the movie counts for about three days, which creates an appropriate rhythm to enter the characters in front of us. With few external actions we work the inner world of the three Vietnamese, keeping the tension to the end; there are many ways, besides drowning with the actions, for us to catch a film.

The long soul of Jaione Camborda has been screened within the film section of the Spanish State. The director who has moved on to the experiment has worked the film part, which talks about the needs of the women of a people. As deeper into the place occupied in the present by the past experiences of each one, there are characters that describe each other; the self is not the self, but the one that emerges through the others.

The game of mirrors complements the movie. The relationships between those who live in the people and those who no longer live have been worked as an alter ego, and each finds a way to fill the gap in the other. Camborda has finished this film after a decade of work and wanted to leave space for the audience in the script, leaving the concepts open. It is a work with a minimal narration, which subtly proposes some facts, whose realization corresponds to those who see it. The dark environment has been masterfully worked on in an unstable world of emotions and manages to tell a simple story in a complex way.

My mexican Bretzel competes in the same section as the previous movie. It is a work by Núria Giménez, built with the grandfather's family file. A phrase opens the movie: "Lying is nothing but a way to tell the truth," he added. The quote will become important as we move forward in the images. These are images made in the 40's and 60's, accompanied by subtitles to be read by the public that take the tone from day to day. Despite being the director's family file, Giménez builds a fictional story about documentary images; what you see is true, but not what you read. Or is it? What capacity can film have to make the fake believe? What would be the difference between the two?

The words propose a constant game with the images, making a nod to what you see sometimes, but moving away often. The passages of the false diary are narrated in the first person of the grandmother who did not know, which makes the link of the file superseded: several stories can be told from the same material. The sound has been carefully worked out, respecting the tone of the silent images, musicated from time to time, sometimes rebuilt, but also giving presence to the silence. An 80-minute visual journey plays with your characters and those you're looking at, bringing the bodies to the possible stories that the director decides.