Maddi Barber

On October 4th, 2007 Arantza, the director of the film, was detained and taken to prison. She remembers a few things about those days: endlessly walking around the prison exercise yard, swimming competitions, Rasha's prison journey... After 918 nights locked up, Arantza is set free. From then onwards, she recorded her memories and doubts, which are heard throughout the documentary as a kind of fragmented memoir.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place 'Paraíso'. Machines will come soon.

On January 24th, 1954, Mamaddi, aged 22, took a boat from Le Havre to New York. But her journey began earlier in her hometown movie theater, with images coming off the screen and never disappearing: a beautiful Cadillac, a young woman, the blue sky.

In her escape, M. takes refuge in an abandoned house. Amidst the echoing sounds resulting from her efforts to make herself comfortable, she hears some footsteps outside and decides to open the door. A fortuitous visitor, who will become her companion-in-shelter, steps into the house.

Province of Ciudad Real, Spain, December 29, 1990. During the annual march to the Herrera de la Mancha prison, held in support of the members of the terrorist gang ETA imprisoned there, the Basque rock band Negu Gorriak holds a concert, which is recorded, edited on video and turned into a tool of vindication. Decades later, a film crew tries to elaborate a personal essay around this event and its meaning.

Province of Ciudad Real, Spain, December 29, 1990. During the annual march to the Herrera de la Mancha prison, held in support of the members of the terrorist gang ETA imprisoned there, the Basque rock band Negu Gorriak holds a concert, which is recorded, edited on video and turned into a tool of vindication. Decades later, a film crew tries to elaborate a personal essay around this event and its meaning.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

Entrails, a flock of sheep, one spring. The cooing of doves and songs hummed. Some vultures, bones, flowers and many hands. Hands which feed, milk, stroke, shear, film; hands that kill. Hands which inhabit the doubts and contradictions about using other species.

The arrival of two Slovenian bears in the Pyrenees of Navarre alters their balance. The bear has been a natural inhabitant of the Pyrenees for a million years. However, its disappearance led to the transformation of the area. The presence of these new visitors brings old conflicts back to the fore.

Xulia was getting treatment at a rehab center back in 1985, when something happened that changed her life. Years after that, she published 'Imperfect Future', a memoir turned into a book. This short film is a dive in what's left of all that.

Almost two decades ago, the Itoiz dam flooded seven villages and three natural reserves on the Pyrenean hillside in Navarra. The ecologist group Solidari@s con Itoiz registered the fight against its construction. Today, those who were there dream of the land lying beneath the water on video. Their voices and gestures come together to tell the tale of an individual and collective mourning still suffered today.

Almost two decades ago, the Itoiz dam flooded seven villages and three natural reserves on the Pyrenean hillside in Navarra. The ecologist group Solidari@s con Itoiz registered the fight against its construction. Today, those who were there dream of the land lying beneath the water on video. Their voices and gestures come together to tell the tale of an individual and collective mourning still suffered today.

Almost two decades ago, the Itoiz dam flooded seven villages and three natural reserves on the Pyrenean hillside in Navarra. The ecologist group Solidari@s con Itoiz registered the fight against its construction. Today, those who were there dream of the land lying beneath the water on video. Their voices and gestures come together to tell the tale of an individual and collective mourning still suffered today.

Almost two decades ago, the Itoiz dam flooded seven villages and three natural reserves on the Pyrenean hillside in Navarra. The ecologist group Solidari@s con Itoiz registered the fight against its construction. Today, those who were there dream of the land lying beneath the water on video. Their voices and gestures come together to tell the tale of an individual and collective mourning still suffered today.

On the slopes of the Navarrese Pyrenees, the construction of the Itoiz dam in the 1990s flooded seven villages and three nature reserves. A strip of bare land, 592 metres above sea level, today marks a dividing line within the landscape of the valley. Below that level, the water; above it, life goes on.

On the slopes of the Navarrese Pyrenees, the construction of the Itoiz dam in the 1990s flooded seven villages and three nature reserves. A strip of bare land, 592 metres above sea level, today marks a dividing line within the landscape of the valley. Below that level, the water; above it, life goes on.

On the slopes of the Navarrese Pyrenees, the construction of the Itoiz dam in the 1990s flooded seven villages and three nature reserves. A strip of bare land, 592 metres above sea level, today marks a dividing line within the landscape of the valley. Below that level, the water; above it, life goes on.

On the slopes of the Navarrese Pyrenees, the construction of the Itoiz dam in the 1990s flooded seven villages and three nature reserves. A strip of bare land, 592 metres above sea level, today marks a dividing line within the landscape of the valley. Below that level, the water; above it, life goes on.

On the slopes of the Navarrese Pyrenees, the construction of the Itoiz dam in the 1990s flooded seven villages and three nature reserves. A strip of bare land, 592 metres above sea level, today marks a dividing line within the landscape of the valley. Below that level, the water; above it, life goes on.

Created by 24 fabulous filmmakers and two talented sound artists in conjunction with the 2018 edition of Punto De Vista International Documentary Film Festival in Pamplona, Spain.

Follows the trail of taxidermic pieces collected by The Manchester Museum during the nineteenth and twentieth centuries.