The characters of Bani Khoshnoudi’s film are broken and lost, each in their own way; they are marked by a restlessness and instability that is reflected in the Mexican port city of Veracruz, where Fireflies is set. Veracruz was once a place of luxury and vibrant culture but is now a place of decay and oxidized, crumbling buildings. Much like the Casablanca of that famous Michael Curtiz 1942 film noir, Veracruz is a depicted as a place of passage and transit, mirroring the internal struggles of its inhabitants as well as the current globalized situation of exile.
Journey is, in every sense of the term, more important than destination in Fabiana, directed by Brazilian filmmaker Brunna Laboissiére. Here, Laboissiére hitches a ride with a lesbian transgender woman named Fabiana, a seasoned truck driver approaching retirement who has criss-crossed Brazil for several years, joining her on what will be one of her last ever work trips.
José Celestino Campusano is an Argentinean filmmaker known for a type of brutal realism that often unearths the origins of hidden desires and the energies that influence the nature and machinations of the environments of his stories. The strongest of these energies is sexuality and while the characters are never either likable or entirely unpleasant, they are often divided between those who take charge of it and those who, for one reason or another, do not.