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Three friends travel to Mallorca on a holiday bender and to try to get laid. When two Russian girls arrive at the next-door condo, they decide to install hidden cameras in each room, but things will soon go south.

Founded in 1966 in California by Anton Szandor LaVey, the Church of Satan has often been surrounded by mysteries, scandals and moral panics. An immersive journey into one the most fascinating phenomena of American religious pluralism.

Larry is an ardent evangelical Christian, lives in New York, works as a mover, and dreams of breaking into the world of commercial acting. As he seeks his big break, he argues with his boss and leads a solitary life. His fate takes an unexpected turn the day he meets Alexandra.

Writer Àlex Pareja (Jacob Torres)'s book, The Heimlich Maneuver, describes the events around his girlfriend's death by choking. It's a success, as it breaks all the conventions to reflect auto-fiction in a non-linear way. Ten years later, Pareja is filming a movie adaptation that, he insists, must also reflect reality, transcending traditionalism of scripts. Due to this, a camera and small team will follow Àlex and film anything in his life; Àlex insists he must be true to the camera. The movie is a mockumentary with interspersed interviews to real-life artists (playing themselves), while Pareja works on the film and in the process wrecks his own life: He hires video-clip director Manolo Vázquez (played by Miki Esparbé; but Vázquez is the director of the real movie), who in turn recruits star Jordi Vilches (as himself) to play Àlex in re-enactments. But Àlex is not happy with Vilches' performance, style or public appearances - Vilches is a troublemaker. Àlex ends up a 6-year relationship with his performance artist girlfriend Lavinia (Alba Yañex) to try and woo the star actress of his movie, Marta Torné (as herself), who then rejects him. The city councilor Venturi (Blanca Martínez), who is also Àlex's dead girlfriend's mother, is totally unhappy with the project and tries to hinder it, and Àlex's contact in the government, failed snobbish artist Larra (Albert Ribalta), cannot or will not help him. Unexperienced in movie business, Àlex attempts to work on the set, but is disdained by his team, and also harshly criticized by the authors in the interviews. Against the ropes, Àlex accepts Vázquez's offer: Vázquez can do post-production with whatever material they have filmed. Vázquez asks to be credited as the director. Six months later, on a bar, Vázquez watches the TV ceremony of Goya awards, where The Heimlich Manuever was successful with at least three statues. However, the movie direction was credited to Àlex, who by then is dating Marta. Sad, Vázquez drinks his cup, eats the olive... and starts choking. Cut to credits.

"American Jesus" is an exploration of Christianity in every faction of American Life, from the bread line to the yoga studio, from the humble churches of snake handlers to the mega churches of the ex-urbs. Christian cowboys, bikers and musicians, comedians, surfers and cage-fighters, they are all doing it for Christ. Aram Garriga travels from his native Barcelona to the politically divided United States to chronicle the sometimes bizarre relationship between faith, materialism, politics and personal passions in this uniquely American tableaux. Populated by an array of religious and secular characters offering candid, often illuminating testimonials, American Jesus is a vivid mosaic of personalities and conflicting points of view that emerges as a portrait of an America yearning for solace and meaning in the modern world.

During the second half of the 90s, the magazine The Wire forged a controversial concept: post-rock. The term defined the music made by bands that could not be placed in any previous industry and market-defined genres.

Depicts the struggle of a whole community for survival in one of the most devastated places in Buenos Aires, Argentina, completely hidden from the public eye.