Stories of dreams and memories of Japanese women. In this award winning documentary, Shelly Silver presents an intimate portrait of a group of Japanese women ranging in age from 15 to 82, talking about their lives, families and society. In these stories one can begin to see, from very personal and individual perspectives, the societal changes that have occurred over the last three generations for women in Japan, bringing an exciting and often conflicting array of choices and positions. Many of the stories revolve around the relationships these grandmothers, mothers and daughters have with each other, filled with respect, rebellion, loss and love.  

Advises children to do whatever is necessary -even lie- to achieve harmonious family relations. "These boys treat their dad as though they were genuinely glad to see him, as though they really missed him...". (The Prelinger Archives are a source of educational material, mainly ordered by theme, giving a vision of the dark side, the underbelly, perhaps naive of the American dream and the America that is often hidden behind the media curtain.)

Going in depth into her father’s photo archive and diaries about his experience during the military service at the Sahara spanish colony in 1964, Pilar spots the lost paradise where he always would try to come back. In the eighties and nineties, after the failure of his family project, Manuel Monsell will start to traveling to the Maghreb. Again with his photo camera, he will run after the beauty of some portraits which could move him to the place of his dreams. But all these trips reveal much more about the place of departure than about the place of destination. Romantic love, independence and family compose a stage of a refuge that getting itself broken, it commit ourselves to ask not only about our more sincere desires but also about the need of rethinking the sense of these old words.

Miguel reveals to Fábio the filmed footage of his childhood. The film is an investigation into the possibilities of fiction through a material that, in theory, does not hide anything. His raw material is some VHS that Miguel himself starts to review next to a mysterious and flirtatious friend from Brazil. Miguel speaks, his friend listens. Miguel presents his world, his past, his first self. With these reference images, Miguel structures a particular account of his experience as a Colombian child and the first manifestations of Satan in his life.

Interview with Carolina del Olmo.