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HOMBRES DE DIOS in an anthological television series that presents six stories about the ironies of destiny, the mysteries of faith and the narrow path that leads to salvation, through encounters between priests and parishioners, which have occurred since the century XVI to the present. From a temperamental businesswoman, a hit man and a fortune teller, to a werewolf or the conqueror Pedro de Heredia, the characters and their episodes run through various genres, combining historical and biblical cultural references, cinematographic tributes, suspense, humor, drama and fantasy. The sky is the limit, so the only unforgivable sin will be to lose MEN OF GOD.

Manrique is the man in charge of watching an abandoned salt mine located in a recondite place of the Colombian Caribbean. In his work he has found the perfect excuse to isolate himself from a world that does not appeal to him anymore. Nevertheless, the unusual appearance of a dog that likes to chase fireflies in the dark, and the unexpected arrival of Valeria, a thirteen years old daughter whose existence he ignore, will allow this solitary man an opportunity to recover the joy of being alive.

The rainy seasons starts in Barranquilla. Once more the city is flooded by the pouring rain. In the intimacy of a small workshop, hidden in a desolate street downtown, Luis, a lonely man, repairs radios and TV sets. Carmen, a woman who despite the difficulties in her life, has an air of joy and a strong wish to live, works behind the reception desk of an old three-star hotel. come to less. Her dream is to travel to the USA to meet her brother. For this reason, in her free time she locks in her room and studies English with an audio course. Luis and Carmen's lonely lives suffer a dramatic change the day Carmen's recorder stops working.

Rosa is a country girl who has managed to escape from a paramilitary massacre in which her whole family was brutally murdered. Hernando is a man in his forties who is determined to find his aunt Graciela, the only living relative whose testimony will allow him to inherit a substantial amount of money. On the contrary Alejandra, Hernando's wife, thinks that no money should justify the risk of putting themselves in the midts of a 'red zone'. Blinded by his ambition, Hernando convinces his wife to keep on with their money quest. Both the couple and the girl end up being captured by members of a local guerrilla. Finally, the gruesome Colombian conflict will decide their destinies in a totally unexpected way.

WALDO Y LOS NUMEROLOCOS, is a TV show for children in which preschoolers learn to think and resolve everyday problems through the development of mathematical skills while enjoying the adventures and stories of the actors and performers of the Infinity Circus.

TRAVELLING magazine is a look at the key figures, events, places and audiovisual products from Colombian and Latin American cinema, this being not just a means but also a destination. A journey that will allow us to discover our identity as a nation.

Laura, a journalist who comes back to her hometown after living abroad for years, becomes entwined in the dangerous investigation surrounding her father's death. A story of corruption and suspense in a world full of uncertainty and risks.

Documentary series that narrates stirring and original collective experiences between artists of varied disciplines and communities with inclusion problems.

Alicia, a charming girl of a bourgeois family, is the daughter of Isabel, a woman enslaved by her social world. In a huge house, in the middle of silence, among feminine efforts to shine in spite of pain and routine, Marina, the housekeeper becomes Alicia's only support in mitigating solitude and living a childhood that has been snatched from her. At the end of the 50's, in a society in which appearances matter more than affection, loneliness will be able to surpass social condition and beauty.

Unemployed and lonely, Carlos Perea passes his days seated in front of the television. His life goes on without novelties until his routine is interrupted by the connection of a telephone line that he does not wish. His attempts to get rid of the line will become a kafkian delirium, a black comedy that approaches subjects like marital life, corporations, consumption and middle-class.

Colombian jails are full of guerrillas, militaries, paramilitaries and even innocent farmers locked up by the crimes of a war that undergoes all the country. Knowing this, film director Roberto Flores Prieto decides to screen his feature film "Wounds" in the jails of his hometown, Barranquilla. The film approaches the subject to of Colombian conflict. The screening becomes an excuse for the internees to reveal how they survived a war that have left scars in their bodies and open wounds in their souls.

Gabriela Salgado Valdés is the Daugther of Light, sister of legendary Paulino "Batata" Salgado, family matron and singer of "The Joyful Ambulances", an afro-colombian music group that struggles to turn its tradition into a mainstream project. The documentary accompanies the Daughter of Light in her way, among conviction and obligation, to take her to different stages from the country. Her life is full of contradictions. Her reality, far away from the cheery and exotic image of a tourist postcard, is marked by the shock between her traditions, the love that she feels for her family and the pragmatism the music industry demands.

Father Valentino has lost his vocation. In the midst of routine, repetition and the passage of time, he has forgotten the meaning and purpose of his priestly work. He preaches to the parishioners about the importance of cultivating and exercising the gifts that the Lord has given us, but he can no longer feel his. Amid the agony of having to move on mechanically and empty with his service, Valentino desperately prays to God for a sign that does not seem to arrive. Then, one day like any other, a lanky and insignificant man whose voice is not heard, shows up at church asking for help and claiming to be a werewolf who, on full moon nights, transforms into a terrifying beast that goes out to kill humans. Is that the sign you asked for so much? Or just one more poor devil who has lost his sanity?

Father Francisco is seriously ill. He knows he could die and he is afraid. He tries to cope with his grief and grief through his priestly work, and by playing the church organ on his sleepless nights. However, the fear of the fragility of her existence grows stronger every day and only someone can help her in this journey through the dark night of the soul, a mysterious woman who likes to go to church, but not to Mass. . A sage who, in spite of possessing an overflowing and generous spirituality, exercises a profession that does not commune with the ideals of the Catholic faith. Can Father Francis go beyond the dogmas he proudly professes? Will it open to the possibility of God's word reaching through the most unexpected of people?

In the 1950s, Father Gerardo, a priest with thick glasses and very white skin, as white as his pristine and rigid morals, came to exercise his office as evangelizer and parish priest in a Kafkaesque Barranquilla. With his impeccable manners and a distinguished Rolo accent, Father Gerardo begins to lead his parishioners along the "path of good", disregarding the advice of his eccentric superior who, in a brief but intense reception, has suggested that he lead the flock with a "firm but gentle hand." Ignoring and obsessive eagerness to bring order to a world that does not need it, Father Gerardo does not take long to generate a tsunami of disagreements and chaos when he insists on becoming a champion of a supposed truth and decency that, in these lands , it is not so much.

In the year 1554, Fray Gregorio Beteta, bishop of the city of Cartagena and follower of the doctrine of "a conquest by love and without arms" was forced to receive in confession Pedro de Heredia, founder of the city of Cartagena and one of the most seasoned and cruel conquerors of the Spanish empire. Heredia has been found guilty of abuses of authority, indiscriminate massacres and embezzlement of the Crown, and he must return to Spain to render accounts for his excesses and excesses before the Council of the Indies. Bishop Beteta is forced to listen to Heredia, a man whom he morally censures for his bloodthirsty character and his ambition. However, the friar's moral and religious convictions will begin to break down to the extent that the conqueror, skillfully wielding his arguments, makes him see the irrefutable historical truth that without bloody conquest, there would be no evangelizing church either.

Miguel, a priest who plays a very active role as a social leader within the community through community radio and good humor, receives Joaquín in the confessional, a young man of about twenty-two years old whom he had not seen since he was a kid. Fighting guilt and remorse, the young man reveals that he has come to obtain forgiveness for a crime not yet committed: he must kill a man on the orders of the local mafias. Alarmed, the priest tries to dissuade the boy from doing so. However, there seems to be no turning back: the life of Joaquín's family depends on it. Miguel tells Joaquín that he is very sorry, but he cannot grant forgiveness for a sin that can still be avoided and that he, and the Lord, trust that Joaquín will know how to do the right thing. The young man flees desolate, but Miguel's conflict worsens when, days later, he discovers the identity of the possible victim.

Santiago is a young man of ancestry who renounced his upper-class privileges to get into the habit. After being ordained, he became pastor of the Sanctuary of Nuestra Señora del Morro, a secluded place of spiritual retreat. In the midst of a simple and ascetic existence, Santiago carries his vocation serving the local community of peasants. Her life passes without any news, until the day when Karina, a woman of humble origin who rose socially to become a "successful" executive, appears in the middle of the night, lost, physically and morally, after crashing her brand new BMW in a surrounding road. In addition to shelter, Santiago offers Karina spiritual guidance, but the woman only wants to call a crane and return to civilization. The pastor has an old cell phone, but to call, the couple must undertake a long ascending walk in search of a sign. Along the way, howling monkeys will provoke a deep and unexpected introspective journey and the tiring journey, a much clearer and more powerful signal than the cell phone.