Directed by Solveig Hoogesteijn, Macu, the Policeman's Woman (1987) is a Venezuelan crime drama based on a true story. The film follows Macu, a young woman living in a Venezuelan shantytown, who becomes romantically involved with a local policeman named Ismael. As their relationship develops, Ismael's jealousy intensifies, leading to tragic consequences. The narrative delves into themes of power, control, and the dynamics of abusive relationships within marginalized communities. The film is notable for its exploration of gender roles and societal issues in Latin America.

Anita Camacho, an ambitious maid poses as the owner of the house where she works in order to seduce a man of money, marry him and finally stop being poor.

In Secretaries Day, either you get laid or you get paid.

Perucho leaves his village in Venezuela, and along with his sister and brother traveled to the city to try to break through and find another life. There he discovers he has talent for boxing and through it seek the opportunity to be someone ..

Una madrugada frente del Cementerio, el trompetista Alirio Guaramato, borracho y nostálgico por la muerte de su mejor amigo, consigue tocar las notas musicales reservadas a los ángeles para la resurrección de los muertos. Alirio sólo toca estas notas unos instantes suficientes para que Antonieta García, quien había muerto a los 85 años, vuelva a la vida con la apariencia de 20. Antonieta buscará una dirección que permanece en su memoria y allí encontrará a su nieta Mónica. Mientras tanto, un amargado ángel será enviado con la misión de restablecer el Orden Universal que ha sido roto...

Alexander and her friend Diosa start working in a furniture store, Alexander suspects that the owner is involved in a murky business.

A rich kid runs away from home and meets a young musician who shows him the night life in Caracas.

The Blue Apple Tree, is a Venezuelan film starring Diego, a city boy about 11 years, marked by serious emotional deprivation, which is forced to spend a holiday with his grandfather Francis (Miguel Angel Landa), who barely knows him, on a small farm in the mountains of the Venezuelan Andes.

A 12-year-old boy is asked to write an essay about what his family does at night.

Film by Olegario Barrera.

Directed by Alfredo Anzola, Manuel (1979) is a Venezuelan drama that explores themes of love, faith, and resistance. The story follows Aparicio and his wife, Alma Rosa, as they welcome a new priest, Manuel, to their coastal village. As Manuel becomes acquainted with the community, he discovers that the village is slated for demolition to make way for a tourist development. Deeply moved by the villagers' plight, Manuel joins the local fishermen in their struggle to defend their land. During this time, he also finds himself drawn to Alma Rosa, leading to personal and moral dilemmas. The developers, aware of Manuel's growing influence and his feelings for Alma Rosa, begin to monitor his actions closely. The film delves into the complexities of human relationships and the fight against displacement.

Vidal Rojas, an opponent of the dictatorship of Juan Vicente Gómez, after failing in a subversive attempt and suffering a romantic disappointment, decides to enlist in the revolutionary groups in the interior of the country.

The intent of novice director Solveig Hoogesteijn to make a drama about two Venezuelans from opposite sides of the economic and social tracks wobbles and weakens in the telling. Although the two compatriots both live in the capital, Caracas, and both love music, they have a need to go out into the rest of the country and discover their roots. As big-city dwellers, they are limited in their perspectives, though this excursion into other areas of Venezuela may prove more illuminating to them than to a foreign audience.