In the future, emotions and gestures have disappeared. But we are in the present: five researchers arrive on electric scooters in a village in the Basque Country, searching for what their time has forgotten. Through interviews and observation, they enter the intimacy of its inhabitants, until the boundaries between the different times begin to blur.
Karmen (83), unable to pay her electricity bill, collects wood washed ashore to heat her house, reviving a family tradition. Her friend Maixabel (77) sees her and copies the idea. When Karmen runs out of firewood, she returns to the beach only to find it empty, leaving her once again helpless against the cold. To help her, her granddaughter Oihane (16) secretly leaves bags of firewood at her front door. Meanwhile, Karmen tries to discover who is behind this kind gesture.
In a valley where cowbells ring out loudly in winter, Aiara dreams of becoming a “joaldun”. As carnival approaches and the other children get ready, her family tells her that before she can wear the cowbells, there are many things she must first understand.
Two friends who share a house with two apartments and a well in their garden begin to trade with it. One bottles it, and the other waters a vegetable garden whose produce she sells. They build a machine around the well to exploit it increasingly better. The machine works faster and faster.
Considered as the best engraver of our time, Mari Puri immerses us in a world between reality and fantasy in this documentary. Drawing on the accounts of artists and personalities from the art world who have closely followed her work, the documentary traces the evolution of a fundamental artist of Basque culture. She is an artist renowned for her engraving, drawing and painting; the hallmarks of her work are her total mastery of colour, abstraction bordering on the figurative, and the figure as an essential element.
Blending personal archive and dreams from the past, the filmmaker confronts their younger self's compromised imagination, inviting the ghost of their youth to reconsider what lies ahead.
A mother confronts her child’s first encounter with death by retreating into the impossible logic of old cartoons.
My uncle Doug died in 1997 from AIDS. His death led directly to my birth. In that way, I sort of owe everything to him. This is the story of the uncle who I have never met but whose ripples of legacy live on in every breath I take.
