Mid-crisis, the employees of MEGESA (Sevilla), Battenfeld, Fisam, Eursotil, Roselson (Barcelona) and Babcock & Wilcox (Bizkaia) give their testimony. The economic crisis leads to redundancies, closure of factories, and layoffs. The trade unions emerge, but the agreements they reach with the Spanish government do not satisfy the workers. Assemblies, marches, traffic-stops and calls for solidarity assail the country, and the first general strike since the death of France is organised in the Basque Country.
A film essay on race and civil disorder in 1980s Britain and the inner city riots of 1985, as point of departure the civil disturbances of September and October 1985 in the Birmingham district of Handsworth and in the urban centres of London. Running throughout the film is the idea that the riots were the outcome of a protracted suppression by British society of black presence. The film portrays civil disorder as an opening onto a secret history of dissatisfaction that is connected to the national drama of industrial decline.
A new critical look at the militant cinema of the 1960s in Europe, that focusses on the disruptive potential of women in the film genre. The structure of the film is based on a reassessment of the story “Klara eta biok” (Klara and Me, 1985) by the Basque writer Itxaro Borda. Confronting the author with her words from the past, it aims to provide an updated critical perspective on the Basque militant identity.
An experiment in working together and a film about the future. The collaboration began with the discovery of a sunken slave ship, and an artist asking a philosopher — how do we get to the post-human without technology? And the philosopher replying — maybe we can make a film without time. The result is a video that speaks from inside the cut between slavery and resource extraction, between Black Lives Matter and the matter of life, between the state changes of elements, timelessness and tarot. Together we ask: what becomes of the human if expressed by the elements?
The film uses experimental forms to look at life in Britain in 1984, focusing on the experience of the Black British. It recognises that the different power dynamics that determine this experience are difficult to reduce to straightforward explanations and instead uses the term “territories” to reflect the multiple agendas and experiences at work. These agendas — or territories — involve race, class and sexuality.
A desert landscape, as if from another planet. A few lonely, rusty shipwrecks. Low desert scrub grows around them to hold the sand together during the merciless storms. Aralkum, the Aral Desert, is the bare seabed, the last thing left of the Aral Sea. By weaving together different cinematic textures, this essay re-imagines the dried-up Aral Sea, allowing an old fisherman to set sail one last time.
Sitting on a hill, Inaxio mourns the death of his wife through a bertso [Basque verse]. His grandson Ekaitz seems to have been invoked by his song and returns to the farmhouse to take care of his grandfather and the animals that provide them food and company. The two, with different visions of the environment, will unite again to face the complications of the future together.
After breaking up with Boris, Lara returns to her hometown, Barcelona. There, her friends, lovers and the Catalan traditions of the Castells will change her dreams and desires.
A year has passed since the death of Ainhoa's father. Since then, mother and daughter live in the farmhouse where they use to live together. As everything around reminds her of her father, Ainhoa will want to leave. Her mother, however, will try to keep her around her. With the excuse of the death of a cow in the farmhouse, the mother will try to prevent Ainhoa from leaving.
The Virgin appeared to Sofía. Then she travelled to the Sanctuary of Our Lady of Lourdes and was cured of something incurable. In another time and another place, a group of doctors meet to discuss her case. What happens when science and religion meet?
An actress and a filmmaker rehearse a film screenplay. The screenplay includes excerpts from the diary written by María Dolores González Katarain “Yoyes” during her exile in Mexico between 1980 - 1985, after leaving ETA, the armed organisation she used to lead.
Ale, a 17-year-old woman, lives in rural Costa Rica with her two younger siblings. Through landscapes fuelled by silence, resentment and brief moments of joy, Ale will try to protect them from the seething truth, their mother has left them and is not coming back.
A hot midsummer night. The young couple, Maia and Txema, finally relaxes after a long day. Suddenly they get anxious because of some screaming. Maia tries to convince her partner that something bad is going on. The evening out then turns into a fight that questions their relationship.
A filmmaker recalls a unique outing with his parents in Singapore on February 2020. A contemplation on life, death and the ever-changing landscape on this small island.
In a mysterious forest, a woman is slowly lured into a nostalgic daydream as she observes butterflies.
In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland's 1973 film of the same name, this film portrays these manifestations by focusing on the expressiveness of human hands rather than Wieland's feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in super 8mm ektachrome.
10-year-old Bakyt lives with his father. They go to the baths together and eat together. Their relationship is not verbose, the father tries to bring up independence in the child. Thus, the father does not come home at night. Bakyt, hiding his anxieties, continues his daily routine. He goes to school, cooks for himself, but every night without his father it becomes harder and harder for him to endure.
Among intrusive and sought-after memories, a woman hears a disconcerting call from the depths of her being. A cryptic cry for help that becomes intelligible guides her to the original wound, to her inner child, becoming her own protector.
Ten years have passed since the creation of the Pabellón Nº6 space. The founders as well as actors and actresses linked to it talk about what the reconversion of an old sawmill into a pole of cultural attraction has meant.
Magnificent landscapes, gorgeous nature and swarming cities laying beyond the sea. The life and tribulations of communities sharing their destiny with the desert: what the camera doesn’t capture live, archival materials provide, blending past and present punctuating them by the rhythm of Iratxe Fresneda's flow of thoughts, through her voice over.
In the 50s and 60s, deep in the American countryside at the foot of the Catskills, a small wooden house with a barn behind it was home to the first clandestine network of cross-dressers. Diane and Kate are now 80 years old. At the time, they were men and part of this secret organization. Today, they relate this forgotten but essential chapter of the early days of trans-identity.
Sable uharteko ekosistema aberatsean murgilduko gara Zoe Lucas naturalista eta ekologistaren eskutik, zeinak 40 urtetik gora baitarama Ozeano Atlantikoaren ipar mendebaldeko urruneko lur eremu honetan. 16mm tan filmatuta eta teknika zinematografiko ekologiko eta berritzaileekin egina, saiakera hau mundu naturalarekiko lankidetza ludiko eta begirunetsu bat da. Zoek zaldi basatien, foken eta zomorroen artean eramango gaitu, tontor, haran, sustrai, harea, eguraldi, urtaro eta izarren artean.
“We should start with a correspondence, maybe we will not correspond to one another. Ebrahim can send me a letter this Friday, and I’ll answer him next Friday. So, see you Friday, Robinson! " And so, Jean-Luc Godard stages himself in his daily thought, wisely desperate, and sends images and words from Switzerland to the other side of the Channel. In his mansion in Sussex, Ebrahim Golestan tries to decode these UFO-messages and skilfully seeks to bring them back to the appearance of reason. And so on, until the day a veil falls over the two Gods on the run. Does the existence of poets still have any meaning in these times of distress?
In the heat of a summer day, Draginja discovers a dead body that resembles her. In the heat of a summer day, Draginja hires a fake husband to show off in front of her friends. In the cold of a winter night, Draginja roams the streets hoping to recover her lost memory. Through three different life possibilities, a middle-aged woman tries to get out of her skin.
Muzzled by the increasingly autocratic regime of the Depression Federation, 16-year-old Marusya decides to join her generations’ suicide statistics by year’s end. Then she meets Kimi and a love story begins between the two millennials caught in the undertow of their oppressive government. Together, Marusya and Kimi film the euphoria, anxiety and misery of their youth, burning the candle at both ends, fuelled by drugs and music.
This work is a collage of images, repetitions, and memories, built through the intervention of the Colombian news archive during the 80s and 90s. It also reconstructs a story linked to a generation — my generation, that grew up by normalizing violence through these same senseless images.
