Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise.
From 2011 to 2013, tubas were stolen from Los Angeles high schools. This is not a story about thieves or missing tubas.Instead, it asks what it means to listen.
I told him I was a filmmaker... and nothing has changed. Amid these landscapes traipses the soul, at times certain, at others uncertain of its own existence, while the body is and is and is and has no place of its own.
The employee comes to the factory every day. He is the only person who is qualified to do his particular job. It is precise, mundane, and repetitive work. Every morning he goes through the same drill, starting up each machine. Today, though, he has made a decision...
Chennu committed his first crime when he was 15 years old: being a street kid. And he entered hell: Pademba Road. The adult prison in Freetown. In hell, Mr. Sillah is in charge, and there is no hope. Chennu got out after four years. Now he wants to go back.
A blind man accidentally loses his guide-dog. Alone in the dark in a big city, he discovers that his strength lies in recognising his own vulnerability.
Begoña is an old woman and a virgin. Convinced that death is close at hand, she decides to hire a male prostitute, Daniel, to satisfy her curiosity about sex, which everyone says is beautiful and marvellous. However, this will not be an easy task for Daniel.
After a period of time without seeing his mother, Angel Mari decides to bite the bullet and go and visit her at the nursing home to which she has been admitted. He does not like seeing how his mother has disappeared under the skin of a senile old woman who does not recognise her own children.
Moritats are old folk songs about crimes and are typical of Central Europe. Zela Trovke is a moritat from Slovakia which the Holland Baroque Society has recovered to include in its Barbaric Beauty programme. Maite Larburu, the orchestra’s violinist, unveils the song’s hidden secrets.
Christine Angot, a novelist, returns to Strasbourg with a camera as part of her literary tour. There she met her father when she was thirteen and spent a holiday with him. It was then when he started to rape her. He passed away a long time ago, but her family still lives at the same place. She decides to knock on their door.
Euxebi’s father was killed during the war. In her youth, Euxebi suffered Francoist repression and, to this day, despite the fact that the dictatorship ended long ago, she has not had the chance to recover the memory of her father. After many years, when they finally open the grave where her father is, Euxebi puts a picture next to his bones.
Mature women speak about their marriage, their “first time”, their intimate relationship with sexuality. In the repetition of these ancestral rituals, the director questions her own absence of marriage, of children, and thereby, a chain of mother-daughter relationships that is extinguishing.
Between lines and shapes, hands touch; they explore and experience each other, like wishing to break the boundaries of their own skin.
Having lost the council aid that allowed them to keep their rehearsal venue, the women’s choir that Rita belongs to is about to fold up. Now the group must decide whether or not to accept sponsorship by one of the companies causing the most pollution in the valley.
The Housewives’ Quarter. The Insomniacs’ District. The Bandstand of the Unknown Mother. The Underpass of the Single Women. Our walls pay tribute to those we love.
June finds her first summer job: taking care of Constance, a sensitive little girl who suffers from a lack of affection. The child soon learns to trust her and June gets her hopes up thinking that maybe she can be her nanny for the whole year. However, just as her bond with the child grows stronger, she discovers how harsh class differences can be and what rejection can feel like.
In 1952, Anita Conti, France's first female oceanographer, embarked on a trawler to share the hard life of Atlantic cod fishermen, alone with her camera and sixty men for six months. Using her 16mm film rushes and photographs, the film reveals her scientific and yet tender gaze for the workers of the sea. This pioneering woman foresaw the need to protect the oceans.This film explores the modernity of her struggle, as well as the hazy, rhythmic beauty of her writing and photography.
Alice is 27 years old today. Even though she is suffocating a bit, she still lives with her parents and tends to live in her dreams to escape her dreary everyday life. After a psychedelic party on a factory roof, she has a serious drunken bike accident.
This film sheds a limelight on the very characters that normally remain in the background of video games: NPCs. They are non-player characters that populate the digital world as extras to create the appearance of normality. A laundress, a stable boy, a street sweeper and a carpenter are observed with ethnographic precision. They are Sisyphus machines, whose labour routines, activity patterns as well as bugs and malfunctions paint a vivid analogy for work under capitalism.
An unflinching chronicle of Americans at war with each other, offering an unprecedented look at right—wing activists as they search for purpose and power—with dire consequences.
Film between reality and excess. A hybrid work mixing autobiography and fiction, in the style of literary autofiction, about one of the most singular characters of the Front de Libération du Québec (FLQ): Jacques Lanctôt. This film chronicles the life of a man who returns to a place that welcomed and sheltered him during his exile in the 1970s: the eighth-floor room of the Hotel Nacional in Cuba.
On board a ferry, passengers cross a river from one riverbank to the other. Some of the travelers wrap themselves in silence and observe the unfamiliar fellow travelers or contemplate the scenery. Some others chat, perhaps to liven up the voyage and speed up time. The journey on the waters seems to expand, the destination shore is postponed, the magnitude of space is blurred. Motion itself is perhaps the only certainty.
In the north of Colombia, a group of queer activists use extravagant performative actions to denounce the disastrous exploitation by the country's largest coal mine.
Sun starved teenagers take on a dreamy trip to the Balearic islands in the pursuit of light and warmth. They must absorb it and be a vessel in order to transport it back to their heavy clouded kingdom.
In 1979, the Virgin of Zikuñaga disappeared, leaving its inhabitants without her iconic image. A gap in the niche; a collective void. This is a film about gaps. My father, the filmmaker Juanmi Gutiérrez, passed away some years ago. Now, from a distance, I return to his films in an exercise of personal memory through the image, or rather, through its absence. Can the lack of an image be as strong as its presence? And in that case, what do we do with this emptiness?
Sound and image stare each other in the face as Oksana Karpovych contrasts quiet compositions of everyday life of Ukrainians since the full-scale invasion with intercepted phone conversations between Russian soldiers and their families.
Emakume helduek beren ezkonbizitzaz hitz egiten dute, "lehen aldiaz", sexualitatearekin duten harreman intimoaz. Antzinako erritu horiek errepikatzean, zuzendariak zalantzan jartzen du ezkontzarik eta seme-alabarik ez izatea, eta, horrekin batera iraungitzen den ama-alaben arteko harreman-kate bat.
In 1952, Anita Conti, France's first female oceanographer, embarked on a trawler to share the hard life of Atlantic cod fishermen, alone with her camera and sixty men for six months. Using her 16mm film rushes and photographs, the film reveals her scientific and yet tender gaze for the workers of the sea. This pioneering woman foresaw the need to protect the oceans.This film explores the modernity of her struggle, as well as the hazy, rhythmic beauty of her writing and photography.
Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise.
After his death, Fernando Ruiz Vergara left dozens of film sketches that he was never able to make. The Andalusian filmmaker had only directed one documentary, Rocío, heartbreaking and fascinating, cursed after its judicial censorship in the early years of democracy in Spain. Since then, his projects have remained latent in imagination and desire. In this film, we fabulate with those dreamed projects to bring them to the cinema from the present, as a gesture of resistance.
Sound and image stare each other in the face as Oksana Karpovych contrasts quiet compositions of everyday life of Ukrainians since the full-scale invasion with intercepted phone conversations between Russian soldiers and their families.
After his death, Fernando Ruiz Vergara left dozens of film sketches that he was never able to make. The Andalusian filmmaker had only directed one documentary, Rocío, heartbreaking and fascinating, cursed after its judicial censorship in the early years of democracy in Spain. Since then, his projects have remained latent in imagination and desire. In this film, we fabulate with those dreamed projects to bring them to the cinema from the present, as a gesture of resistance.
Marta is a twelve-year-old girl who suffers bullying at school. It seems that she is going to celebrate her birthday until someone very special pops up to prevent her from falling apart: her Fairy Godmother. The fairy godmother's strategy is to invite Marta to meet her future selves so that she sees that her current worries will be solved. But each of the Martas bring their own worries from the future. The fairy godmother will have to use her wits to cheer up the girl's birthday so that, all together, they discover the importance of always having hope.
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.
If the right place and time is chosen, a bag of stew can become a terrorist threat.
As every summer, tomato day arrives. Nella and her family reunite to celebrate the family tradition at their summer holiday home in Italy.
Ane and Andrea have sex and an enormous thirst and, while outside life continues, they want to go on, they don't want to stop until they are together once and for all. They kiss and screw to the limits of their energy, until outside care has to come to the rescue.
An unflinching chronicle of Americans at war with each other, offering an unprecedented look at right—wing activists as they search for purpose and power—with dire consequences.
