Call Mom!(2019)

Aïcha is a troubled teenage girl who cannot forgive her mother for kicking out the stepfather she adored. Aïcha longs for him to come back and take her away. When she meets Baz, a man twice her age, it’s love at first sight for her; the real kind, the one that hurts. Baz wants to help this lost little girl, but she wants much more from him, and is ready to do anything to get it.

Milo Boyd, a down-on-his-luck bounty hunter, thinks he's seeing an upswing in fortune when he gets a call to bring in his bail-jumping ex-wife, a reporter named Nicole. Milo considers the job an easy payday, but Nicole quickly escapes to chase a lead on a murder case. The former spouses play an escalating game of one-upmanship, until they suddenly find themselves on the run for their lives.

“Nobody Leaves Alive” by André Ristum is shot in beautiful but also distancing black and white. Looking at the Venice line-up, this seems to be a trend this year among the maestros of cinema. The film is inspired by true events that took place in the last century in the “Colonia” hospital in Brazil. Whoever didn’t fit the standards of society, or their family’s perception of it, was locked away, tortured, and killed. There were altogether more than 60,000 victims. Hope dies last, and some of the inmates don’t give up the fight. We’re reminded of film classics such as “One Flew Over the Cookoo’s Nest” or “Alcatraz”.

Manuel and Lupe want to have a baby. When Manuel discovers he is infertile, he starts to fall apart both physically and emotionally. After exploring several options, Manuel turns to Rubén, his new friend, to act as their donor.

A pastor of a small church in upstate New York starts to spiral out of control after a soul-shaking encounter with an unstable environmental activist and his pregnant wife.

Mathilde is nine years old. Her parents have separated. She lives with her mother, a fragile person who hovers at the edge of madness. It is a story of a unique love between a daughter and her mother.

During a trip to the mountains with their schoolmates, Arturo, who has just turned fifteen, gets thirteen-year-old Paloma pregnant.

When their eight-year-old daughter falls into a coma after a tragic accident, Eva and David are torn apart by grief. David clings to hope, unwilling to let go, while Eva cannot bear to see her child suffer and takes matters into her own hands—igniting a gripping courtroom battle over guilt, mercy, and the limits of love

Fong (Miriam Yeung) is already at odds with Wu (Edison Chen), one of her bosses at an ad agency, when she makes a major mistake at work that puts her job on the line. To save herself, she feigns pregnancy, which, under Hong Kong law, means she cannot be fired for 10 months. However, while there may be some perks that accompany her "pregnancy," she is eventually forced to concoct increasingly elaborate lies and involve everyone around her in the charade.

As her marriage dissolves, a Manhattan writer takes driving lessons from a Sikh instructor with marriage troubles of his own. In each other's company they find the courage to get back on the road and the strength to take the wheel.

Spain, 1950s. Montse's agoraphobia keeps her locked in a sinister apartment in Madrid and her only link to reality is the little sister she lost her youth raising. But one day, a reckless young neighbor, Carlos, falls down the stairwell and drags himself to their door. Someone has entered the shrew's nest... perhaps he'll never leave.

Or shoulders a lot: she's 17 or 18, a student, works evenings at a restaurant, recycles cans and bottles for cash, and tries to keep her mother Ruthie from returning to streetwalking in Tel Aviv. Ruthie calls Or "my treasure," but Ruthie is a burden. She's just out of hospital, weak, and Or has found her a job as a house cleaner. The call of the quick money on the street is tough for Ruthie to ignore. Or's emotions roil further when the mother of the youth she's in love with comes to the flat to warn her off. With love fading and Ruthie perhaps beyond help, Or's choices narrow.