In 1976, Argentina fell into the hands of a de facto government. Thousands of citizens are persecuted and kidnapped. This is the case of the parents of two children, who, knowing they are wanted, decide to hide.

DESEO looked very promising. A movie about the political situation by the end of WWII and also a forbidden love story between a married communist woman and a NAZI sympathizing in a very convoluted Spain; but the movie is unable to get the point almost completely. This is really a pity, because movies about WWII are generally no more than war scenes and NAZIS portrait as psychopaths but rarely mentions the reasons why many countries were allied or passive with Germany (even USA before Pearl Harbor). In 1945; a woman belonging to a communist family fallen from grace, find a job in the house of a very seductive Argentinean magnate who is secretive helping important members of the NAZI regime escape to Argentina under protection of General Peron (and also General Franco) governments. The woman has several reasons to hate the fascism; her husband is in prison for political reasons, his father was killed in front of his family by the FALANGE (Franco's army), his mother is paraplegic because of that and they lost everything their had and living in absolutely misery. For all these reasons, the temptation of an elegant world, fancy clothes and good sex seems quite logical, even when she had to betray her own ideas and husband. The story looks very good, but the development is poor and flipping from the light social history to the soap opera model. The beginning showing misery and desperation and the seductive tycoon, are well conceived albeit slow moving. But after that, things never really get convincing. The political situation is described using a few dialogs. The obsessive love story loose credibility every second. Sex scenes are as hot as candle six feet away. Moments like the notice of Hitler's dead are so bad acted that they should be left in the cutting room. The cast composed of very important and well-known Spanish and Argentinean actor's fails almost completely. Leonardo Sbaraglia starts very seductive, but when things get dramatic he is unable to deliver. Leonor Watling has a one facial expression character; even when she looks very nice and unprotected, is hard to believe somebody could get so obsessed about her. Cecilia Roth is a caricature, absolutely miscast. Norma Leandro unnecessary as Sbaraglia mother and head of the organization. Sarda, Cava and Alterio are the only ones able to get some credibility in their small parts. It is really sad, because with all the misses, there are a few intelligent details. The story never tries to create a heroine out of Watling role. The fears and persecution of communist under Franco regime are very well described and touching, as is the misery those peoples were condemned. In sum, if you do not know history or if you are looking for something trying to show history realistic, take a look otherwise do not loose your time, read a book about the subject.

Jose is a filmmaker putting the finishing touches on his latest production, a schlocky vampire picture. Feeling supremely dissatisfied with his vocation and heroin addicted girlfriend Ana, he arrives back at his apartment to discover a package from his friend Pedro. It contains a reel of super 8mm film, an audiotape and a key to Pedro’s apartment. Flashbacks show how these two men, both of whom share an extraordinary passion for filmmaking, met at Pedro’s family home where Jose was location scouting. Pedro, who’s never without his super 8mm camera, believes life is only worth anything if it’s caught on film. Furthermore, he’s tapped a hidden power inherent in film images that causes him to experience a mystical state of “Arrebato,” or rapture. Before long Pedro becomes addicted to this sensation, eventually cutting himself off from the outside world and devoting his life to filming himself in bed. His camera in turn grows increasingly powerful as it saps more and more of Pedro’s life force, eventually developing the capacity to turn itself on and off and, more alarmingly, literally erase objects—and, inevitably, people—from existence. All this is evident on the film and tape Pedro has mailed to Jose, who in the end decides to visit his friend’s apartment. He arrives to find Pedro’s camera set up and running, but its owner nowhere to be found...

An array of outrageous people, including a desperate nymphomaniac and a terrorist with an acute sense of smell, seek love and happiness in Madrid.

Inés works as a dubbing actress and sings in a choir in Buenos Aires. While on an idyllic trip she suffers a traumatic episode that she can’t recover from. She has trouble sleeping and experiences very vivid nightmares as strange sounds begin to emerge from inside her. Awake, Inés feels suddenly surrounded by people that seem to come from her dreams.

After a young heiress is assaulted by a policeman, she seeks revenge by befriending the policeman’s mousy wife and introducing her to her circle of outrageous punk friends.

Carmen Uranga is a 42 year-old woman who after 20 years jurisdiction of her native country (Argentina), she returns to solve a family problem related with the inheritance that her sick father wants to leave him. Their return trip results in the unavoidable memories of the torture that that was object during the dictatorship and a dramatic revelation.

When her son is accused of raping and trying to murder his ex-wife, Alicia embarks on a journey that will change her life forever.

2018 Argentine film directed by Luis Ortega

1999 film by Pedro Almodóvar

Salvador Mallo, a filmmaker in the twilight of his career, remembers his life: his mother, his lovers, the actors he worked with. The sixties in a small village in Valencia, the eighties in Madrid, the present, when he feels an immeasurable emptiness, facing his mortality, the incapability of continuing filming, the impossibility of separating creation from his own life. The need of narrating his past can be his salvation.