Three MiniDV tapes of life in Gaza from 2001 were recently rediscovered. What started as a search for a former prison mate from 1989, led to an unexpected road trip from the north to the south of Gaza with Hasan, a local guide whose fate remains unknown.
A cinematic reflection on memory, loss and the passage of time, capturing a Gaza of the past and lives that may never be found again.
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.
FUCK THE POLIS is a film about an intimate connection with the world: a profound attempt to look at what surrounds us, where history coexists with the present and our memories and emotions intertwine with the objectivity of reality.
For a decade, Dr. Steve Boyes has been in search of a mysterious elusive herd of Ghost Elephants in the highlands of Angola, a wooded plateau — virtually uninhabited, but in size as large as England. He sets out with master trackers from Namibia, the best remaining in the world, but there is a deep underlying question: would it not be better to keep these gigantic elephants rather as a dream, as ghosts, as the White Whale, than finding them in reality?
In the wake of Palestinian memory, National Pride: From Jericho to Gaza follows Hassan Al Balawi, a diplomat based in Brussels, returning to his homeland on the occasion of the fifteenth anniversary of the death of Yasser Arafat—a tutelary figure of the liberation struggle and leader of the PLO. Filmed in 2019, the film traces his journey from Jericho to the Gaza border, through an occupied West Bank where every checkpoint, every landscape, bears the imprint of broken promises.
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.
The shooting of Franco Maresco's film on Carmelo Bene is interrupted. Maresco accuses the production of "filmicide" before vanishing. A friend steps in, investigating as a chance to explore one of Italian cinema's most corrosive authors.
Between Vesuvius and the Gulf of Naples, the land quakes from time to time, and the fumaroles of the Phlegraean Fields taint the air. The ruins that lie below — Pompeii, Herculaneum, long-submerged Roman villas — tell of a future that was buried by time. From these traces of history, memories of the subterranean world, in black and white, a lesser-known Naples emerges and fills with lives.
Duela gutxi aurkitu zituzten Gazako bizitza islatzen duten 2001eko hiru MiniDV zinta. 1989an espetxeko kide ohi baten bilaketa gisa hasi zenak ustekabeko bidaia bat eragin zuen Gazako iparraldetik hegoaldera, Hasan bertako gidariak lagunduta, eta orain ez dakigu hari zer gertatu zitzaion.
Memoriari, galerari eta denboraren joanari buruzko gogoeta zinematografiko bat, zeinak agian inoiz berriz aurkituko ez diren bizitzak eta iraganeko Gaza bat irudikatzen dituen.
FUCK THE POLIS is a film about an intimate connection with the world: a profound attempt to look at what surrounds us, where history coexists with the present and our memories and emotions intertwine with the objectivity of reality.
For a decade, Dr. Steve Boyes has been in search of a mysterious elusive herd of Ghost Elephants in the highlands of Angola, a wooded plateau — virtually uninhabited, but in size as large as England. He sets out with master trackers from Namibia, the best remaining in the world, but there is a deep underlying question: would it not be better to keep these gigantic elephants rather as a dream, as ghosts, as the White Whale, than finding them in reality?
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.
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.
Between Vesuvius and the Gulf of Naples, the land quakes from time to time, and the fumaroles of the Phlegraean Fields taint the air. The ruins that lie below — Pompeii, Herculaneum, long-submerged Roman villas — tell of a future that was buried by time. From these traces of history, memories of the subterranean world, in black and white, a lesser-known Naples emerges and fills with lives.
In the wake of Palestinian memory, National Pride: From Jericho to Gaza follows Hassan Al Balawi, a diplomat based in Brussels, returning to his homeland on the occasion of the fifteenth anniversary of the death of Yasser Arafat—a tutelary figure of the liberation struggle and leader of the PLO. Filmed in 2019, the film traces his journey from Jericho to the Gaza border, through an occupied West Bank where every checkpoint, every landscape, bears the imprint of broken promises.
In south-eastern Spain, a great wall separates worlds. A healthy world, and one deemed sick, contagious. The sanatorium of Fontilles has been a sanctuary for those afflicted with leprosy. The filmmaker travels along and across this wall and encounters witnesses of the past and the present : the last residents, workers, a Franciscan sister, neighbours, and the landscape. Together, they embody fragments of its memory and become storytellers of a vanishing world.
The shooting of Franco Maresco's film on Carmelo Bene is interrupted. Maresco accuses the production of "filmicide" before vanishing. A friend steps in, investigating as a chance to explore one of Italian cinema's most corrosive authors.
