Estátuas Não Falam

Fuimos revolución. 10 de junio de 1971(es)

Indisciplinado. Historia de un proyecto político(es)

¿Qué pasó con Yugoslavia?. El engaño de nuestra vida(es)

After forty years of fighting Moscow, Washington won the Cold War, and NATO found a way to expand eastward; however, there was one loose end to the problem: Yugoslavia was not a satellite of the USSR…

Les Camps de l'Horreur Nazie(fr)

The Whole and the Parts(es)

In a hidden workshop, surrounded by water and vegetation, a group of craftspeople live together with the statues they restore, silent spectators of a discreet battle against the inclemency of time and oblivion.

Ciclos Perucha(es)

El sueño del oro negro(es)

Medicina 70(pt)

De la Quadra-Salcedo: El reportero que quisimos ser(es)

La memoria del arpón(es)

Behind Closed Doors(pt)

In 1968, Brazil’s military government convened the National Security Council to enact Institutional Act No. 5, ushering in the most violent period of the dictatorship. The meeting was recorded, but remained secret for decades. The filmmakers delved into the archives and now reveal the recordings.

A Story of Vengeance(es)

Franco, who was a loving family man turns into a nightmarish thug to hunt down his daughter's abuser. What at first seemed like an act of justice by his own hand was lost in a twisted personal revenge that will take Franco over the limit.

Journey from Santa Barbara to Moscow, or the Adventures of an American in Russia(ru)

The second film in a series of documentary and journalistic films about Russia. This is an impartial and friendly story about how the capital of Russia lives, works, studies and relaxes, seen through the eyes of a foreigner. The film's host, American actor Jed Allan, familiar to many Russians for his role as CC Capwell in the TV series Santa Barbara, travels around the multimillion-dollar metropolis, accompanied by the Russian actor and athlete Alexander Nevsky. The presenters of the film are equally interested in the opinions of representatives of the modern elite and ordinary citizens. The daily life of the city is the main interest of the film's authors; the faces snatched by the cameraman from the Moscow crowd are his main characters. The idea of the film is to show modern Moscow as one of the brightest, most beautiful and most dynamically developing cities in the world.

We Are Fire!(en)

Maremoto (Mar) is a young illustrator in Mexico City struggling to make sense of a town where 11 women are murdered daily, and 95,000 people have gone missing, with no one held accountable. Her feminist drawings support her community in dealing with the emotional trauma left by the femicides and galvanize them to fight to get the government forces to act. With her work, Mar also creates a safe space for the LGBTQ+ community and teaches self-acceptance."

Tears(en)

Why do we cry? Can men cry too? When are tears acceptable and when are they not?

Laughter(en)

Examines laughter, its representation in film and its day to day function. Well known people from various backgrounds discuss the issue and what it means to them.

Fear(en)

People who have experienced fear - those involved in the peace movement, a child, a politian and a film director - discuss the psychological and physical aspects of this emotion.

Rage(en)

Explores rage, its function and its representation in film. Why does rage occur, how does it differ between people and how do children feel about it? Also questions if rage can ever be a constructive emotion.

Go Go Go Said the Bird(en)

Four young people pinpoint the attitudes that have contributed to the phenomenon of swinging London.

Un Monde 5 Étoiles(fr)

After delivery of a parcel, on leaving a restaurant, hotel or train, or following an exchange with the customer service department of your telephone operator, the same request: to rate. On a scale from 0 to 10, embellished with colors, or by awarding pretty, playful little stars. A simple, mechanical and painless action for the rater. But behind this harmless gesture lies a brutal management system, operated directly by the customer, without their knowledge. Even more worrying: without knowing it, we are all being rated, to feed the algorithms of opaque companies that claim to be able to predict the future. The film questions this invasion of rating systems, and the consequences of this practice for our individual realities and collective freedoms.