Selda

Ram reluctantly becomes a brother figure to a young and helpless boy, both undocumented workers. Living in such intense precarity, mutual support might be the only way to survive.

In this microcosm of the modern world, three couples, each at a different stage of their lives and relationship, face up to the conflicts of their differing cultures, backgrounds and beliefs.

A widower and her daughter witness the retirement of a colleague of his and the closing of her department at her university.

The friendship between two children is threatened by their parents’ differences. Malú is from a family that was upper-class before the Revolution and remains well-to-do through remittances from relatives overseas, and her single mother (Larisa Vega Alamar) does not want her to play with Jorgito, as she thinks his background coarse and commonplace. Jorgito’s mother (Luisa María Jiménez Rodríguez),

Hubert, a brash 17-year-old, is confused and torn by a love-hate relationship with his mother that consumes him more and more each day. After distressing ordeals and tragic episodes, Hubert will find his mother on the banks of Saint Lawrence river, where he grew up, and where a murder will be committed: the murder of childhood.

Jun is a university student. She meets high school student Haru. Haru is looking for Sachiko, the ex-girlfriend of her now deceased father. Jun and Haru meet Tokio. Tokio is the grandson of Sachiko and they learn that Sachiko is now deceased. They find an open-reel tape from Sachiko's articles.

A spouse discovers her better half's savage room style unsettling and she begins to think about whether he's undermining her, and when this makes her waver into the edge of mental issues, she is "spared" by her male specialist companions with whom she starts an undertaking.

A Filipino worker is on the death row for killing his employer. Because of a lady reporter who is bent on doing a full story about him, government officials are now trying to help him. But Fidel insisted that he killed his employer on purpose. Vega learned about his past- a boy-next-door type of person who grew up with a loving family. His profile doesn't fit the picture of a killer. Sister Lourdes, the Filipino nun who visits Fidel regularly wants to know the truth too.

An ambitious reporter and his cameraman attempt to get their big break by venturing into the mountains by themselves to get in touch with a group of rebels. But what they find leads them into a living nightmare, as the very limits of their humanity are tested.

A US soldier suffers a traumatic brain injury while fighting in Afghanistan and struggles to adjust to life back home in New Orleans. When she meets local mechanic James, the pair begin to forge an unexpected bond.

Sonia, the daughter of a prominent publisher, is about to fulfill her lifelong dream of marrying Rosendo, a promising writer with homosexual tendencies, who pines for his fiancee far less than he does for the brand new literary award launched by his future father-in-law. The wedding shindig will bring its share of unexpected surprises. This is a film is part of the DOGME 95 Movement, described as follows: 'the goal of the Dogme collective is to purify film-making by refusing expensive and spectacular special effects, post-production modifications and other gimmicks. The emphasis on purity forces the filmmakers to focus on the actual story and on the actors' performances. Given these restrictions the story and the action of DIAS DE BODA ('WEDDING DAYS') seem much more immediate and the lapses in fluidity of the story can be forgiven - to a point.