Pocho Álvarez

Helena is 17 years old and studies in Finland. Her father, a Swede, and her mother, indigenous Kichwa of Sarayaku, live at the heart of the Amazon in Ecuador.

It’s spring in the Ecuadorian Amazon and the Uyantza festival is underway with the community celebrating all that the forest has to offer. Meanwhile, news is breaking around the world that a novel virus is spreading and a state of emergency is declared across the country. As people test positive for COVID-19 in the community, some families decide to leave and head deeper into the jungle. Disconnected from school, friends, the internet, and work, one family learns to reconnect with life in the forest. The children begin to unlearn the national curriculum, and instead are taught Indigenous knowledge that mainstream schools normally pass over. As COVID-19 wreaks havoc around the planet, the family reconnect to their ancestral ways, but as news arrives that Ecuador’s lockdown will end soon, will the family choose to return?

"Galapagos: Paradise in Loss" is a documentary focused on the reflection on the relationship between human beings and nature, told from the perspective of the inhabitants of Santa Cruz Island in the Galapagos Islands.

"Galapagos: Paradise in Loss" is a documentary focused on the reflection on the relationship between human beings and nature, told from the perspective of the inhabitants of Santa Cruz Island in the Galapagos Islands.

"Galapagos: Paradise in Loss" is a documentary focused on the reflection on the relationship between human beings and nature, told from the perspective of the inhabitants of Santa Cruz Island in the Galapagos Islands.

Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the seventies, in the midst of the oil boom, with an old 16mm Bolex video camera, and began a journey through the Ecuadorian jungle, collecting the visual testimony of a life that is dying. This documentary brings together the director's permanent concerns: culture and nature wasted by extractivism. A conversation between two directors about the creation of memory through cinema.

Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the seventies, in the midst of the oil boom, with an old 16mm Bolex video camera, and began a journey through the Ecuadorian jungle, collecting the visual testimony of a life that is dying. This documentary brings together the director's permanent concerns: culture and nature wasted by extractivism. A conversation between two directors about the creation of memory through cinema.

Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the seventies, in the midst of the oil boom, with an old 16mm Bolex video camera, and began a journey through the Ecuadorian jungle, collecting the visual testimony of a life that is dying. This documentary brings together the director's permanent concerns: culture and nature wasted by extractivism. A conversation between two directors about the creation of memory through cinema.

Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the seventies, in the midst of the oil boom, with an old 16mm Bolex video camera, and began a journey through the Ecuadorian jungle, collecting the visual testimony of a life that is dying. This documentary brings together the director's permanent concerns: culture and nature wasted by extractivism. A conversation between two directors about the creation of memory through cinema.

On April 10, 2014, the environmental activist and president of the Junín community, Javier Ramírez, was arrested and sentenced to ten months in prison for the crimes of “rebellion, sabotage and terrorism”. A few days later, the National Mining Company entered the area accompanied by a squad of at least 200 policemen to carry out studies related to the Llurimagua mining project, in the Íntag cloud forest. Javier with I, Íntag collects Javier Ramírez's reflections after his release, his feeling of condemned innocence, the pain of living in a divided, busy and frightened community, with its social fabric destroyed.

On April 10, 2014, the environmental activist and president of the Junín community, Javier Ramírez, was arrested and sentenced to ten months in prison for the crimes of “rebellion, sabotage and terrorism”. A few days later, the National Mining Company entered the area accompanied by a squad of at least 200 policemen to carry out studies related to the Llurimagua mining project, in the Íntag cloud forest. Javier with I, Íntag collects Javier Ramírez's reflections after his release, his feeling of condemned innocence, the pain of living in a divided, busy and frightened community, with its social fabric destroyed.

On April 10, 2014, the environmental activist and president of the Junín community, Javier Ramírez, was arrested and sentenced to ten months in prison for the crimes of “rebellion, sabotage and terrorism”. A few days later, the National Mining Company entered the area accompanied by a squad of at least 200 policemen to carry out studies related to the Llurimagua mining project, in the Íntag cloud forest. Javier with I, Íntag collects Javier Ramírez's reflections after his release, his feeling of condemned innocence, the pain of living in a divided, busy and frightened community, with its social fabric destroyed.

On April 10, 2014, the environmental activist and president of the Junín community, Javier Ramírez, was arrested and sentenced to ten months in prison for the crimes of “rebellion, sabotage and terrorism”. A few days later, the National Mining Company entered the area accompanied by a squad of at least 200 policemen to carry out studies related to the Llurimagua mining project, in the Íntag cloud forest. Javier with I, Íntag collects Javier Ramírez's reflections after his release, his feeling of condemned innocence, the pain of living in a divided, busy and frightened community, with its social fabric destroyed.

Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?

Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?

Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?

Documentary about ecuadorian writer Jorge Enrique Adoum.

Documentary about ecuadorian writer Jorge Enrique Adoum.

Documentary about ecuadorian writer Jorge Enrique Adoum.

История одной из самых запутанных и печально известных тяжб — дела о так называемом Амазонском Чернобыле, когда 30000 коренных жителей эквадорской сельвы подали коллективный иск против американского нефтяного гиганта Chevron. В иске говорится, что заводы Chevron на протяжении последних тридцати лет систематически загрязняют воду, воздух и почву в Эквадоре. В результате экологически чистые прежде леса превратились в огромную мертвую зону. Режиссер и его команда прослеживают, как разворачивалась эта юридическая битва и из небольшого местного дела превратилась в знаменитый международный процесс. Экологические последствия потребления ископаемых видов топлива в последнее время широко освещаются, "Нефть" же уделяет основное внимание тому, что зависимость человечества от нефти зачастую стоит жизней, и тому, как трудно привлечь корпорации к ответственности за это.

The documentary registers the reaction of the inhabitant the communities of Imbabura, Zamora, Chinchipe and others Ecuadorian provinces under the influence of mining. The testimonies of the leaders and the protagonists tell the facts that are at the center of this story.

The documentary registers the reaction of the inhabitant the communities of Imbabura, Zamora, Chinchipe and others Ecuadorian provinces under the influence of mining. The testimonies of the leaders and the protagonists tell the facts that are at the center of this story.

The documentary registers the reaction of the inhabitant the communities of Imbabura, Zamora, Chinchipe and others Ecuadorian provinces under the influence of mining. The testimonies of the leaders and the protagonists tell the facts that are at the center of this story.

The documentary registers the reaction of the inhabitant the communities of Imbabura, Zamora, Chinchipe and others Ecuadorian provinces under the influence of mining. The testimonies of the leaders and the protagonists tell the facts that are at the center of this story.

The imagination of history in Ecuador never thought that oil, “its redeeming hope”, discovered in the Lago Agrio No. 1 well, was going to mean the beginning of the worst environmental catastrophe on the planet. Thirty years of operation and exploitation of the Texaco company, forever transformed the rivers and estuaries, the forests and the life of the indigenous communities in the northern Amazon of Ecuador.

The imagination of history in Ecuador never thought that oil, “its redeeming hope”, discovered in the Lago Agrio No. 1 well, was going to mean the beginning of the worst environmental catastrophe on the planet. Thirty years of operation and exploitation of the Texaco company, forever transformed the rivers and estuaries, the forests and the life of the indigenous communities in the northern Amazon of Ecuador.

The imagination of history in Ecuador never thought that oil, “its redeeming hope”, discovered in the Lago Agrio No. 1 well, was going to mean the beginning of the worst environmental catastrophe on the planet. Thirty years of operation and exploitation of the Texaco company, forever transformed the rivers and estuaries, the forests and the life of the indigenous communities in the northern Amazon of Ecuador.

The imagination of history in Ecuador never thought that oil, “its redeeming hope”, discovered in the Lago Agrio No. 1 well, was going to mean the beginning of the worst environmental catastrophe on the planet. Thirty years of operation and exploitation of the Texaco company, forever transformed the rivers and estuaries, the forests and the life of the indigenous communities in the northern Amazon of Ecuador.