Between Spain and Algeria, Soumaya reconnects with her family and heritage. Through laughter, prayer, and memory, three generations of women weave threads across distance, belief, and tradition.
It’s 8 in the morning one summer in the early 70s. Ion, an ETA activist, runs for his life through San Sebastian’s Old Town with the police hot on his heels. The city is coming to life, and people are going about their usual routine. As he runs, Ion looks back at the story of his life. His memories of school, where he was forced to renounce his identity, alternate with the look in his father’s eyes and the figure of Madeleine.
Domingo lives for gambling. He takes bets at rowing boat races, pelota courts and the squares where all sorts of competitions are held. But it’s also an obsession that pushes him to take risks, always in cahoots with his cowardly and cynical sidekick, Kornelio. The loneliness of his wife Marcelina reveals the other side of a tale where tragedy could strike at any time.
The quest for “La flor de Irupé”, a long-lost film by Guillermo Fernández-Zúñiga, pioneer of Spain’s early 20th century scientific cinema, unfolds as a journey through memory, family, and the nation’s archives. As we watch the slow growth of the yrupẽ water lily, different layers of images and silences begin to surface.
This documentary attempts to reflect the role played by Pello Rubio a person living in a Basque farmhouse who, in 1999, decided to unite two politically opposed worlds: Paco Egea of the PSE (Basque Socialist Party) and Arnaldo Otegi of the Basque Nationalist Left. It took nearly six years of silent conversations that bore fruit with the end of ETA. Pello Rubio's role was key to bringing this entire process to fruition. This documentary captures his experiences, his fears, and his work promoting dialogue.
It's the last day of the month. Bowlers flock to the lanes of a bowling alley that has seen better days. Mira, the manager, decides to close early.
She's awaiting the arrival of a special visitor.
X is growing up in the 1990s, she makes prank calls as a child and gets her first job in telephone sales as a teenager. Office smells, heavy breathers, and meaningless greetings follow her from one workplace to another. Through archival material and amateur video footage, the narrative reflects X's actions as a faceless subject playing with her voice as a commercialised asset. Am I Calling You At A Bad Time is an experimental documentary with fictional elements based on recollections of true events.
Inside my head, there's a cat, a dog, and a pile of rocks.
