Bs. As. (2006)

A European director is making a film with children from a social center in Tangiers. Because of his methods, his relationship with the children during shooting degenerates and transforms the evolution of the project.

Galician sailors working on a ferry between the Danish city of Romo and the German island of Sylt. One buys a camcorder and start recording their daily lives and that of their peers in countless voyages.

A filmmaker comes back to his grandparents' house to make them a video-portrait. That's what cinema is about, isn't it?

Piedad has lived big part her life in Leiroso, a small village of the Bierzo, isolated of the urban world in company of her husband. Both decided to remain in the village, still when their children and neighbours were abandoning the place. At the age of 76, appears the Alzheimer in the life of Piedad, her husband died does some time, converting like this in the only inhabitant of the place but still like this, the option to go of there was not something that had in mind. The advance of the illness motivates that Amadeo, her younger son, take the decision to carry to his mother to live with him and his family to the city of A Coruña (Galicia, NW of Spain).

Tradition and performance show us the physical relationship between man and animal when in combat.

Taking the elegance and poetic power of the sea as main elements, Andrade subverts the role traditionally imposed on women. From observed objects to subjects that open their eyes to forgotten realities. Images that, when fading out, reflect a world whose sensitivity is mutating. Scenes of a dreamlike quality that borders surrealism so as to show the new order of things.

A preocupação com a medida de segurança nos distanciou dos fogos de artifício, um espetáculo que costumava ser imersivo, mas que desfrutamos de longe hoje em dia. Fogos, filmado do ponto de vista da pirotecnia, traz o público de volta ao centro da ação. Assim, nasce um filme onde nos propõe apenas olhar e ouvir, a essência presente nas artes e ciências do cinema.

Hyohakusha is a lyrical trip to Japan, passing through Galicia (magic land in the northwest of Spain). Two women filmmakers recover twenty forgotten rolls of Super8 that showed the journey of two Galicians to different places of Japan in 1973, and with this material, and the reflections and emotions of his owner watching the rolls for the first time (the son of the travelers) with her wife, that is Japanish and could not know her father in law that died soon after that trip, these two filmmakers give birth to a new story seeking suggestive relations between the two countries (half of the film is filmed by them in Galicia, also in Super8). This filmmakers during the process of making this film are reading a book of haikus of Basho, that wrote in his lyrical diary "Oku no Oshomichi" about the beauty of some of the places where this Galician couple went to visit in their trip to Japan many centuries later. So some passages of this travelogue are included too.

Peter Weiss' The Aesthetics of Resistance meets a General Strike in Barcelona on September 2010. That night's discussions will be put into question by five anonymous friends who are no longer adolescents nor communist militants and yet also try to oppose the state of things, as did the protagonists of Weiss's novel.

O homem, na necessidade de explicar e entender o mundo à sua volta, atribui ao animal, especialmente no nível simbólico, as funções desempenhadas, inicialmente apenas para si mesmo. Acredita-se que o porco adivinhe seu fim, sinta a morte e, na véspera do abate, passe a noite batendo na porta da quadra, o que se expressa com a crença de que naquela noite acorda sete vezes para comer o dono.

The story of Kaspar Hauser, who grew up in dark isolation from humanity, it is provided by a Gallician artist with a radical experimental adaptation that aims to be nothing less than a religious message. Black & white 16mm, without the language of reason, eye to eye with the primaeval puzzle. The story of Kaspar Hauser, the German 'wild child' who grew up for 16 years in silence and virtually in the dark in a stable with only a wooden horse as company, remains fascinating, also for filmmakers.

Everything changes the day Sofia decides to take on her relationship with Paloma. Behind the supposed acceptance of her parents hides a plan to redirect their daughter to heterosexuality. And behind the apparent facade of tenderness and understanding in the couple hides a situation of maltreatment and instability that will take them to the limit.

Made by ten directors in Pontevedra, Galicia.