Caballo salvaje

50-year-old Jim has constructed a perfect life in the world's most expensive city. When he is unexpectedly laid off, he desperately clings onto the symbols of his success, while wrestling with resurfacing demons from his past.

A drama interweaving the lives of several characters in a contemporary urban setting over five days. All the characters live untenable existences of quiet desperation. It is only by letting go of the lies they have forced themselves to live that they can ultimately find release; then they can connect with the beauty and poetry to which their numbing routines have made them blind.

Made in the margins of the Argentine audiovisual community (from which some of the creative team have been effectively blacklisted). It was produced according to the precepts of guerrilla film making and it's a romantic torch song--not melancholic, but actually demanding a torch with which to ignite the world. 'Guerrilla film making' as it was first conceived in the Latin America origins of its practice: as an act of cultural resistance that uses production constraints as a starting point to reshape its very language. Thus, marginality goes from limitation to facilitation. The result is always original, because the reality with which the production is confronted is always original. The originality of HETEROPHOBIA is no pose, but part of its nature: rare, subversive, and, literally, outstanding.

'A mix of futurism à la Metropolis, fantasy à la Batman and quotes from Piranesi's Carceri, juxtaposed in the form of photo montages, enhanced with...robots, a helicopter, a shark and the winged vehicle of a pop star Pope', was how the Neue Zürcher Zeitung described this astonishing Salzburg Festival production of Berlioz's Benvenuto Cellini. The high-calibre cast, headed by Burkhard Fritz as the temperamental Renaissance artist and the 26-year-old Latvian soprano Maija Kovalevska as Teresa, the woman with whom he tries to elope, is conducted by Valery Gergiev who 'pulled out all the stops. He whips the Vienna Philharmonic into a delirium similar to that which possibly took hold of the composer'. (Der Standard) This is French grand opera at its fast-paced and spectacularly-staged best.

Once upon a time in Little Italy, a mob widow plots to avenge the death of her husband with the help of the local gypsies. Her vendetta involves supernatural machinations which help to control the fates and destinies of members of the four prominent mafia families: the Moronis, Mancinis, Mascolos, and Assissis.