Gael García Bernal

Self-assured Linda begins working for a wealthy Buenos Aires family. Her charm ignites sexual tension, exposing the fragility beneath their happy facade.

A couple deals with the aftermath of an adoption that goes awry as their household falls apart. Ema, a young dancer, decides to separate from Gastón after giving back Polo, the son they both adopted and were unable to raise. In a desperate search through the streets of the port city of Valparaíso, Ema seeks love affairs in order to overcome her guilt. However, she has a secret plan to recover everything she's lost. —AnonymusB Ema (Di Girolamo) is a magnetic and impulsive dancer in a reggaeton troupe. Her toxic marriage to choreographer Gastón is beyond repair, following a decision to give up on their adopted child Polo. She sets out on a mission to get him back, not caring who she'll need to fight, seduce or destroy to make it happen.

As a stranger in the small island village, it is just difficult to live through and mourn her own husband. Thuy, a Vietnamese national, marries a Korean man, and is sincere to him and his parents while slowly adapting to life in a foreign country. One day, she is informed that her husband has died in a motorcycle accident. Thuy's suspicions are aroused as she knows her husband was incapable of riding a motorcycle. When she starts probing into the details of the accident and his death, she is faced with ambivalence and threats.

In Verona, Italy - the beautiful city where Romeo first met Juliet - there is a place where the heartbroken leave notes asking Juliet for her help. It's there that aspiring writer Sophie finds a 50-year-old letter that will change her life forever. As she sets off on a romantic journey of the heart with the letter's author, Claire, now a grandmother, and her handsome grandson, all three will discover that sometimes the greatest love story ever told is your own.

In an airport, a mysterious man, known only as 'Lone Man' (Isaach De Bankole) is being instructed on his mission by another man known only by his alias Creole (Alex Descas). The mission itself is left unstated and the instructions are cryptic, including such phrases as "Everything is subjective," "The universe has no center and no edges; reality is arbitrary," and "Use your imagination and your skills." After the meeting at the airport, he travels to Madrid and then on to Seville, meeting several people in cafés and on trains along the way. The Lone Man's contacts include a middle-aged Frenchman (Jean-François Stévenin), a violin playing man (Luis Tosar), an adrogynist blonde British woman (Tilda Swinton), a Japanese woman (Yuki Kudo), and an elderly British man with a guitar (John Hurt). Each meeting has the same pattern: he orders two espressos at a cafe and waits, his contact arrives and in Spanish asks, "You don't speak Spanish, right?" in different ways, to which he responds, "No." The contacts tell him about their individual interests such as molecules, art, or film, then the two of them exchange matchboxes. A code written on a small piece of paper is inside each matchbox, which Lone Man reads and then eats. These coded messages lead him to his next rendezvous. One contact that Lone Man encounters repeatedly is a woman (Paz de la Huerta) who is always either completely nude or wearing only a transparent raincoat. She invites him to have sex with her but he declines, stating that he never has sex while he is working. One phrase that Creole, the man in the airport, tells him is repeated throughout the movie: "He who thinks he is bigger than the rest must go to the cemetery. There he will see what life really is: a handful of dirt." This phrase is sung in a peteneras flamenco song in a club in Seville at one point in his journey. In Almería, he is given a ride in a pickup truck - driven by a companion of the Mexican (Gael García Bernal) - on which the words La vida no vale nada ('life is worth nothing') are painted, a phrase Guitar says to him in Seville, and he is taken to Tabernas desert. There lies a fortified and heavily guarded compound. After observing the compound from afar, he somehow penetrates its defenses and waits for his target inside the target's office. The target, an American business (Bill Murray) asks how he got in, and he answers, "I used my imagination." After the assassination which the Lone Man kills the American with a guitar string, he drives back to Madrid, where he locks away the suit he has worn throughout the movie and changes into a sweatsuit bearing the national flag of Cameroon. Before exiting the train station onto a crowded sidewalk he throws away his last matchbox.

El Crimen Del Padre Amaro is a film based off the 19th century Portuguese novel O Crime do Padre Amaro, recreated with a modern touch. Although critics have scolded this movie for not precisely recreating the novel, director Carlos Carrera does a great job at bringing the novel into a modern context and highlighting issues to which current audiences around the world can relate. Carrera created a film that reaches international audiences by establishing a Hollywood texture with continuity editing and a smooth, polished finish. Yet by focusing the film on sociopolitical corruption and prevalent issues in Mexico, Carrera also catches the attention of the national audience. In a primarily Catholic country, the clear themes of corruption and hypocrisy within the Church resounded and created undisputable tensions throughout the nation, which even inspired the Church to advocate against viewing of the film. Padre Amaro serves as a symbol of hypocrisy in the context of Catholicism and the issues of the class system in Mexico. He begins as young priest inspired to do right under the laws of the Church; however, throughout the film he is continuously challenged by pressures of money, society, and issues of celibacy. This film consists of most indoor scenes creating a sense of discretion throughout the film, highlighting the theme of scandals, secrets, and hypocrisy. The film creates an impactful sense of realism of the difference in lifestyles and class systems. Poverty in rural towns is contrasted with the wealth of the church through the mise-en-scene as portrayed in costumes, barren houses in poor conditions, shots of the underdeveloped town in the country side, and amongst all of these there lies a beautiful and ornate church. While in most Latin American films the country side is portrayed as fostering a happy, rooted, soul-fulfilling lifestyle, Carlos Carrera shows the audience a realistic view of how rural life can contain the same corruption and scandals that are normally seen to take place in urban environments. All in all, this film does a terrific job at leaving the viewer with a clear message. Many distinct concepts can be pulled from this film, from corruption and injustice of politics and religious bodies, to personal struggles with human passions and the effects of society on a persons life.