Jonathan Carrasco

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.

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When Max fools a gang of local toughs, he finds himself in big trouble. Fleeing from the thugs, Max runs into an old warehouse and bumps into a boom box. By doing that, he manages to release Kazaam, a genie who has been held captive for thousands of years.

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Aliens crashland near a small desert town, strewing odd bluish-glowing rocks throughout the area. Townfolk notice something is amiss when temperatures begin to soar, water disappears, power goes down and people seem not to be themselves.

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Based on the true story of a Brazilian rubber tapper who leads his people in protest against government and developers, who want to cut down their part of the rainforest for a new road and ranch land. The rich and the powerful will stop at nothing, and frequently resort to murder

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