Mariela, a middle-aged woman, receives a call from his brother, Marcos, who tells her it is their mother's dying wish to see her again. Mariela decides to travel to her childhood house in Vallejuelo, where she will run into a long kept family secret.

English // Sí

Mariela

Laura, Carolina, and María play day by day without the supervision of their mother, who has just had a baby, and whose presence, annoying but unspoken, is equivalent to the family background that is experienced in the house, which is reinforced by the notion that a baby is perceived as a problem when it arrives at an inappropriate time. Faced with this situation, the innocence of the girls is forfeited, as they were never accustomed to these new emotions and act accordingly.
Laura, Carolina y María juegan día a día sin la supervisión de su madre, quien acaba de tener un hijo, y cuya presencia, molesta pero tácita, es equivalente al trasfondo familiar que se vive en la casa, lo que se refuerza a partir de la figuración de que un bebé se percibe como un problema cuando llega en un momento inadecuado. Y frente a esta situación, se genera la pérdida de la inocencia de las niñas, quienes nunca antes acostumbradas a estas nuevas emociones, actúan en consecuencia.

Las Tardes (The Afternoons)

When a young woman, Esmeralda, returns to her native land to confront her mother about a traumatic childhood memory, the two women forge a newfound bond through a shared experience.

Esmeralda

Jorge, a Colombian refugee living in France, is about to go back to his country. After a long time without going to his homeland, he struggles to announce his departure to Louis, his 10-year-old boy.

COLA DE LEÓN

Los Shorts - Complicated Connections

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