Over the course of several months, Mariana Caló and Francisco Queimadela collected visual testimonies of various labour and ludic activities and other daily practices rooted in empirical knowledge.

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

Kalinichenko Vasily Porfirievich fought in the Red Army on the 3rd Ukrainian Front and on the 1st Belarusian Front. As a member of the 226th Infantry Regiment he entered Berlin on April 22, 1945. This documentary explores the war, his life and his family story.

Ozoners is a visual essay documenting the last summer that drive-ins in the Southern US utilized film prints as a format for projecting on the screen.

In quantum physics, if two particles interact in a certain way and then become separated, regardless how distant they are from each other they will share a state called ‘quantum entanglement’. That is, they will keep sharing information despite their separation. This theory used to upset Einstein...

In 2066, a survivor of an enigmatic cult recounts his country's traumatic history and the events leading to the rise and fall of the cult.

By Our Selves documents a four-day walk made by the English Poet John Clare. Toby Jones, Iain Sinclair and a Straw Bear follow in his footsteps exactly 150 years after his death. En route they bump into Macgillivray, Dr Simon Kovesi and the wizard Alan Moore. The journey is narrated by Toby’s father Freddie, a maverick actor who featured in numerous David Lynch films.

At Potosi, in Bolivia, we find ourselves plunged in the obscure depths of a mine. And this obscurity does not dissipate, or only furtively, yet only in a light made mainly of words. But these words themselves, contrary to many “films of mines”, evoke little of the labour of the miners, or only obliquely...

The feelings of rootlessness and life concerns that prey on thousands of African and Middle Eastern refugees migrating to Europe resonate in this minimalist documentary about two young Somali emigrants. On the path to a better future, they have found temporary shelter in an abandoned house in the mountains near the Serbian-Romanian border. The camera simulates the perspective of an inconspicuous impartial observer capturing moments that often lack any action, but are still full of internal tension arising from the feelings of uncertainty that the silently waiting men cannot escape.

In Psalm, the location is not specified apart from contemporary indicators of sub-Saharan Africa. At the start, from the white background of the screen and as if emerging from an earthy dust, a small cart pulled by a donkey accompanied by ghostly fi gures arrives at a well. Drinking, fussing with a can, is their fi rst action and it is slow, long, necessary and primordial. Then they leave...

Syria. A body undulating in the wind, in the evening light, a graceful and fragile silhouette of a dancer filmed close to the skin. Such is what is stated, in reverse, in the project of this fi rst fi lm by Rafat Alzakout: beauty and the work of art as a guide for a fi lm shot in the turmoil of civil war while bodies become destroyed fl esh. We follow a small group of men including Ahmad the dancer, Taj the art teacher and former lieutenant, without forgetting, unseen but dialoguing with them, Alzakout...

Pawel and Wawel gathers unique images and sounds from a journey through Iceland that position themselves between documentary gesture and performative strategy. The starting point and anchor of this trans-genre diary film, road movie, documentary film project, is the film festival initiated by Krzystof Kaczmarek “What`s the difference between Pawel and Wawel,” which more or less unsuccessfully tours the island with Polish classics.

In 2008, the growing tourism industry of Cape Verde was frozen. The building of many hotels and resorts by foreigner companies had to be stopped due to a shortage of sand. The sand industry, primary resource for the production of concrete, had reached a dramatic level, endangering the beaches. This event caused a huge euphoria among the businessmen of Mauritania.

In her feature documentary Syrian director Liwaa Yazji explores what it means to set off in a war. She meets friends and people previously unknown to her at their homes. Domiciles where they live now or where they yet live. Spaces that turned into a sought-after commodity.

"Banderas falsas" (False Flags) is a contemplative and poetic film of an experimental nature which focuses on social movements (such as WYD, Occupy Spain, Spanish revolution, etc.) and their occupation of public spaces. The film formally employs different textures and to this end has used several formats ranging from HD to mobile phones...

Pablo Sigg’s I, of whom I know nothing was filmed during the Autumn and Winter of 2012 and 2013 at John Calder's home in Montreuil. Calder –Samuel Beckett's London publisher, collaborator and close friend– decided to move to Montreuil, outside Paris, to live in what once was the office and basement of an 8-storey apartment building constructed after the War...

Brussels, behind the closed doors of a classroom. Using a textbook dating from the Islamic revolution, Sanaz Azari, the director, learns how to read and write in Persian, her mother tongue...

Brussels, La Monnaie Opera House. Three people near the end of their lives meet with choreographers, actors and musicians. They take part in a unique experience which involves music, dance and silence...

The “Duque de Alba” is the last adult movie theatre remaining in Madrid. Rafael, the projectionist, works hard every day in order to make the place tidier. He hand-paints the movie posters himself, he puts flowers and houseplants around, he fits out the entrance…

Every summer, St. Nicholas Church (12th century) draws large crowds of tourists. Situated in an untouched Arcadian landscape, on a picturesque hill and next to a lone tree, it is as if the site becomes a stage where various unusual events take place. Thus, the tourists, unaware of the proximity of the camera, become performers in a daily show.

In 1958, the polemic Brazilian artist Flávio de Carvalho joined an expedition to the rain forest to shoot his first feature film, a strange mix of surrealist fiction and ethnography work about a young woman violently kidnapped by Amazonian indians. Danger, romance and quarrels in the jungle and the production had to be interrupted...

Tucked away in the nooks and crannies of a rocky, snowy landscape, young soldiers appear to be getting ready for an invisible war. The barracks, wind, card games, chatter and above all, the waiting...

A portrait of Sonja, adventurer of the twentieth century, living on an island that she built by herself: Motu Maeva.

The story is quite simply magnificent. In 1979, to thank the owner of the island of Logoden for authorising the filming of scenes for Mon Oncle d’Amérique, Alain Resnais offered this gentleman, Jean Fraysse, a highquality super 8 camera...

The truth is nothing but a group of pixels, the result of a digital zoom on blurred faces. The camera filming the members of a people's jury present at a murder trial is as lost as they are in a labyrinth of evidence, images, and witnesses, incapable of filming anything but its own disintegration.

Story (FID 2003) and Cosmonaut Polyakov (FID 2007) were the first two parts of a trilogy concluded by this new film.

After decades of dictatorship, Albania is at a turning point in its history. TIRANA calls into question the criteria societies are grounded on, just when it's coming into existence.

The story of A journey into Earth Otherwise Said is inspired from the first accounts of the natural and ethnographic explorations in America by the Conquistadors, the missionaries and scientists.