Maya Deren is reincarnated as a young woman from the Colombian Caribbean. Images from her old films intertwine with her walks along the beaches. Gradually, the experience becomes a love poem for all amateur filmmakers and a beautiful tribute to the legendary mother of underground cinema.

Mr. Schmidt, a young man who is recovering from a recent nervous breakdown, arrives at a country manor. As he waits for the governess Mrs. Rosenbaum, Schmidt is scared by the gardener but then meets a bored, young woman, Vera, who kindly accompanies him through the house. Vera tells Schmidt about a great tragedy. Precisely three years ago, members of her aunt’s family passed away, but the bodies were never found. Mrs. Rosenbaum does not believe in the death of her relatives and continues to wait for their return. Coming close to madness, Mr. Schmidt escapes from the mansion, and the missing family members return from an actual hunting expedition. As it turns out, Miss Vera makes up legends because of boredom.

The two school friends Bingo and Roma happen to meet on the street and decide to celebrate this event. They go to a nearby bar, where Bingo complains about his difficult life: supposedly he has no luck with girls and suggests they continue the celebration at Roma’s place. But Roma admits that they can’t go to his place, because he has a “grandfather” who rents his apartment for rendezvous twice a week for two hours. The puzzled Bingo tries to find out who the “granddad’s” beloved is, who pushes him to such feats, despite his old age. A little tipsy, they go to Roman’s place to track down the mistress...

In 1939 a young Romanian woman met a soldier. Love blossomed, but the man was sent to the front. They continued to write passionate letters to each another, but when she had to move they lost contact. She was never able to forget him. Will they ever meet again?

Checo and Chuma decide to use their criminal skills to do good and help people. Along the way, they learn that friendship and love are more than just clichés.

Eight iconic performers of the first generation of Brazilian transvestite artists go on stage to celebrate their 50th career jubilee. The film depicts the human, personal dimension behind these icons, deconstructing gender stereotypes.

The Greek Olimpian Gods engage in the human life experience to its full intensity, for which they choose Mexico City's trendy night club: "Olimpus Dancing Club". Once living in the mortal's world, the naughty Eros (with help of a gang of ill-behaved gods), is responsible for unleashing a forbidden passion that disrupts the lives of the members of two families of not-so-simple mortals.

The story of Mónica, a normal woman with a normal life who, one day, due to an unimportant detail which could have been solved like any other previous disagreement, kills her husband. She then discovers crime as a substitute for ansiolitics, free from all moralism.

The film begins at night, as parishioners holding lanterns form a series of processions, travelling through the night from Rome, and villages in the Abruzzi and Lazio regions, to make it to the Santuario della Madonna del Divino Amore, 10 miles from the capital, by morning. More than an anthropological study of ecstatic devotion – with its genuflecting disciples, and women who scream desperately at the sky – Divino Amore also speaks to Mangini’s interest in disappearing rituals and communities at risk of extinction. When generations of worshippers pour out of the church at the end of the service, formality dissolves into secular leisure, as families perched on horse carts eat plates of spaghetti and men fall asleep on the grass. The velvet-clad austerity of the church’s interior gives way to a series of pastoral tableaux.

Four priests head to Rioja, Spain, to find a better quality mass wine than has ever been available in Iceland. They are so busy with their work and tasting that they miss the miracles happening all around them.