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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
Through an appropriation of the everyday and a core mission to bring art into spaces where it is not typically consumed, One, Two, Three Songs. Maybe Four is a series of simple yet subtle performances, presented as a musical documentary and set in various locations. Of the four pieces in the series, three have already been completed, with the fourth set to conclude in Bilbao (at La Ribera Market) as part of the ZINEBI festival, in the same venue where the first three pieces will be shown. This documentary is the audiovisual spin-off of #itsasoadabidebakarra, the most personal and collective work of creator Ines Osinaga, directed by Xerra Estudioa.
If the right place and time is chosen, a bag of stew can become a terrorist threat.
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.
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.
A film team visits the roads and villages of northern Spain during the summer. They are following in the steps of the clandestine group Cantacronache which, in the summer of 1961, during Franco's dictatorship, went around collecting popular resistance songs. Through the prism of oral recollections and sound files recorded in 1961, the two journeys enter into a dialogue mapping the emotional and political geography of a territory in which the wounds of the past are still unhealed.
The session will be accompanied by Amorante's live performance of one of the songs in the film, and other songs from the Elgoibar musician's repertoire, where tradition and modernity go magically hand in hand.
Mikel, a married man, a pharmacist in a small town on the Basque coast, and a leftist militant, will see his life practically conditioned by his homosexuality. He will take time to accept this, and somehow, it will lead him inexorably to a tragic end.
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.
In 1980, Montxo Armendáriz filmed a choral portrait of the last charcoal burners who made traditional charcoal in the mountains of Navarre. With a low budget, a team of four people and an accurate editing, both on the image and on the sound, Armendáriz found the subject of the film that would make him famous a few years later: Tasio.
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.
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.
Performance project based on sound and images recorded by audiovisual artist Iván Torres Hernández on board the icebreaker of the same name, flagship of the Finnish fleet. The complex, deep sound of field recordings forms the basis of a soundscape played live by musician and sound artist Xoán-Xil López and Iván Torres himself with synthesisers and radio systems, along with instruments fabricated by Xoán-Xil. The piece speaks of improvisation and dialogue between the two artists reacting to the visuals, a mélange of documentary images with celluloid animation.
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.
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.
