Lera is a sociology student at a small-town university. Her mother is a sleepwalker who believes in miracles, and her father just left the family for another woman. Lera has no idea how to make her life better. And one more thing: a spirit keeps visiting her dreams at night. And the harder Lera's life gets, the more often she has these dreams. That is, until the spirit steps into the world of the living.

ANGELITA Y MIGUEL ANGEL 　　1972 - 1986 　　Directores: Andres Caicedo & Carlos Mayolo 　　This adaptation of the novel bogged Little Angels was interrupted until the mid-eighties, when the back and finished Luis Ospina. 　　Angelita and Miguel Angel was filmed in 1972, co-directed by Carlos Mayolo and Andres Caicedo, and edited in the mid-eighties by Luis Ospina. It is therefore a work of pure-known group of Cali, which defined a chapter in the history of national cinema. Here are the extent of the plot and its wavering combo that was a foremost documentarian, with the exception of Caicedo, who felt the difference of their way of being a filmmaker and introvirtió after the failure of the tape, which could not resist the tension between the pulse of Mayolo daring and tricky detail of Caicedo. 　　It may be recalled that the documentary had a connotation that was left to see as a delaying Caicedo. Eventually, however, has not ceased to grow old pictures directed by him and has shown that enrichment which is expected to appear when the character of the neighborhood, was impossible. The same conflict of the movie, social conflicts occurred in the filming. Without the help of Caicedo had no perspective and the movie simply became visibly deformed. Ospina, the publisher, he learned to make this problem a resource that narrative again Angelita and Miguel Angel an argument and a documentary at the same time, a documentary about the very shape of the plot. 　　In the midst of interviewing the short film reconstructs Ospina Angelita and Miguel Angel co-directed with Carlos Mayolo and that was never completed due to disagreements between the filmmakers. Here we see not only the testimony about the rise and fall of our hero (that was the idea that handled the novels of the 19th century type Barry Lyndon), but is portrayed as a generation dubbed "The Cali" or "Caliwood".

Andrew Graham-Dixon investigates the story of the 20th century’s greatest art forger, Dutch artist Han van Meegeren, who made millions during World War II selling fake Vermeers in Nazi-occupied Holland. 　　Following a trail of evidence across Europe, Graham-Dixon pieces together how van Meegeren fooled the art establishment - and even swindled Hermann Göring, selling him what was then one of the most expensive paintings in the world. 　　Looking at this tale of intrigue and double-dealing against the backdrop of Europe’s darkest hour, Graham-Dixon tries to uncover the motives of the master forger. Was he a Dutch folk hero, outwitting the Nazi occupiers? A cynical opportunist? Or even ruthless collaborator? 　　As Andrew Graham-Dixon discovers, this is a tale about much more than simply art forgery: a twisted, timely morality tale about the blurred lines between truth and fiction that poses uncomfortable questions about deception - and collusion. About what happens when we want to believe something a little too much, even when the evidence of fakery is before our eyes.

Follows Manuela, a young woman who lives alone in a cabin, as she meets seven-year-old Alba, and starts a journey that forces her to fa ce the demons of her past and question the pillars of her life. 　　聚焦Manuela，一个独自住在小屋里的年轻女子，她遇到了七岁的Alba，并开始了一段旅程，迫使她面对她过去的恶魔并质疑她生活的支柱。

Follows Manuela, a young woman who lives alone in a cabin, as she meets seven-year-old Alba, and starts a journey that forces her to fa ce the demons of her past and question the pillars of her life. 　　聚焦Manuela，一个独自住在小屋里的年轻女子，她遇到了七岁的Alba，并开始了一段旅程，迫使她面对她过去的恶魔并质疑她生活的支柱。

暮年的生活已使西格尔变得沉默寡言不愿同外界接触，在城市的角落中过着孤单的生活。然而随着女儿的来访，他的生活出现了转机。

暮年的生活已使西格尔变得沉默寡言不愿同外界接触，在城市的角落中过着孤单的生活。然而随着女儿的来访，他的生活出现了转机。

1937年西班牙内战其间，德国战机应西班牙国民军政府的要求，向巴斯克城市格尔尼卡猛烈轰炸，造成严重伤亡。毕加索激于义愤，绘画了这有如炼狱般的惨状，着火的房子，惊惶失措的人畜，嚎哭的丧子之母，控诉着战争的残暴。为此，毕加索与独裁者佛朗哥决裂，流亡至巴黎，老死不还乡。这幅画原本收藏于美国大都会博物馆，佛朗哥Franco死后，遵毕加索遗言重返故国。 　　 　　1936年，毕加索担任共和政府任命的普拉多美术馆名誉馆长期间，为保护艺术珍品，作出了自己的贡献。1937年初，他创作了蚀刻画《佛朗哥的梦和谎言》。这是一组连环漫画式的版画，共有18个画面，另加一首隐晦的、丑化佛朗哥的题诗。画家通过出售这组画的复制品将售款捐作共和政府的救济金。就在创作这组作品时，发生了"4月26日事件"。因此，这组画中的最后4个画面，与日后创作的Guernica《格尔尼卡》有关密切的联系。组画中的公牛在最后的画面中，抵伤了象征佛朗哥的马形怪物。该组画被复制后，法国当局作为宣传品，用飞机将其散发到了佛朗哥占领区。在此前不久，毕加索曾受委托为普拉多美术馆创作一幅大型壁画，作为该年夏季在巴黎召开的万国博览会中西班牙馆的装饰画。在他还未构思的时候，发生了骇人听闻的"4月26日事件"。这就是德国法西斯的空军，悍然轰炸了西班牙北部巴斯克的重镇格尔尼卡，造成了和平居民的伤亡。当这一消息传到巴黎后，愤怒的毕加索怀着"对那把西班牙沈浸在痛苦与死亡的海洋中的好战集团的厌恶和鄙视"，立即以这一事件为题材，只用了6个星期的时间，于6月5日创作完成了351×782厘米的巨幅壁画《格尔尼卡》。该画以后期立体主义语言表现了战争带给人类的灾难，鞭鞑了法西斯。该画在巴黎亮相后，受到了广泛的关注。1938年，它还在挪威、英国、美国等进行了巡回展出。在德国占领法国期间，毕加索不向德国法西斯低头、不为利诱所动，表现了高尚的民族气节。表示以自己的绘画作为『抵抗和打击敌人的战斗武器』。