Photos of a sunset. A book about frogs held by hands. A woman’s face reading. A wildcat among several hands. A passing sunrise. Based on the poem “Esta es la mano que cuida” [This Is the Hand that Cares], by veterinarian and writer María Sánchez, this essay is build as a diptych on the learning processes of our relationship with other species.
A wagon loaded with the skeleton of a whale — one of the most significant pieces of the Nazarene school cabinet, leaves after the school building was sold to make a luxury hotel. The van crosses those emblematic places of Rome, which, like the school itself, have been displaced and emptied of meaning in a speculative operation to clean up the history generated by the city's own tourism.
Matixa, 22, lives with her parents. Her bedroom and her stability are in disarray: the situation is explosive. Helped by her friend Leire, she looks for support outside the family. Convinced that cutting ties with her mother will make her freer, she decides to leave home.
1966. En el pequeño pueblo de Bizkarsoro, en el País Vasco francés, cuatro jóvenes encuentran algunos pedazos de papel enterrados en un bosque. Estos tienen viejas palabras escritas en vasco, pero Michelle tiene 21 años y no las entiende. En su familia hace tiempo que no se habla esa lengua.
Two women take the weight of a world where care is in ruins. Gladys, from her everlasting confinement in the house where she works as a live-in servant. Ima, in her unending wait in front of the sea for the next ship to break its nets. Spaces that are also work, works that are houses and houses that are not always homes. The memories of their experiences are intertwined in a sensory story that leads us to the question: In whose hands is it that the situation changes?
A mother bathes her baby, while other children play with the water coming from the sprinklers. Between intimate and familiar images, something begins to unravel: spaces are transformed, allowing trauma to surface. Starting from a personal memory and from the notion of water as a vital but also potentially destructive substance, this fiction takes us on an immersive journey through childhood’s states of perception, exploring the materiality of water in parallel with the materiality of film.
My father only used a camera once in his life. Thirty years later, he asked me to digitise the material he had filmed. I was wondering what he remembers. Created from an impulse to rethink and rewatch personal archive footage, the film explores memory and its relation to documentation and non-institutional archive practices. Connecting politics with intimate spaces, the documentary questions both the influence of war on private archives and the role of gardens as places of new begginings.
How does it feel to play? What does it mean to listen? As some of this existential questions are asked to musicians, long pauses occur. Because is it even possible to put the emotions of music into words? The documentary is a cinematic improvisation piece. It’s about being present in the now, about playing and improvising, about carrying on the legacy of generations of jazz pioneers and creating something, unlike anything you’ve ever heard before.
“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 heart of Bairro Alto, right in the centre of Lisbon, the building of an old printing workshop is demolished to make way for a development of luxury apartments. Seeing this demolition as a perfect image for portraying the death of a certain Lisbon in the wake of the financial crisis and the ensuing real estate and touristic boom, the director proposes to film an urban diary portraying the daily life of the construction site and those who work there.
Haleh is a very protective mother, who easily spoils her 4 years-old boy, Ilya. When one day the boy stops talking, Haleh and her husband Amir start searching for the reason and the remedy for this sudden mutism. The more they try to talk to the boy or consult experts, the worst things are becoming in the couple and the family.
Isolated in the Amazon rainforest lives a community of children in deep intimacy with the nature around. Between the waters of the Pastaza River and the top of the trees, these kids run their daily lives almost autonomously and with a strong sense of collaboration.
NOIZ and ZINEBI present Martian Civilization A/V Show, with electronic music and live visuals by Bilbao musician and producer Zabala.
In 2020 Jon Aguirrezabalaga (WAS) produced a futuristic piece with melodies portraying a frozen beauty and atmospheric landscapes, a tour finishing up at ZINEBI. A show with visuals by Mikel Aguirrezabalaga, weaving a live discourse combining his own audiovisual material with metrics produced by Rafa Zubiría and Asier Bueno, based on a futuristic dystopia on the red planet.
We round off the night with a DJ stint by Easyer.
