Yesterday, Today

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

When asked a question on politics, late Palestinian poet Mahmoud Darwish once answered: “I write about love to expose the conditions that don’t allow me to write about love.” In TWO TRAVELERS TO A RIVER Palestinian actress Manal Khader recites such a poem by Mahmoud Darwish: a concise reflection on how things could have been.

"The Pig and the Society," symbolizes the stark contrast between the excesses of wealth and the plight of those left behind. It invites viewers to reflect on their perceptions and prejudices, challenging them to see beyond the surface and understand the systemic issues perpetuating homelessness.

A misty afternoon returns a Mapuche couple to their wedding video. In their civil ceremony, they are noted as one of only two couples married in the indigenous language of Mapudungun.

Fame driven Ken Dean becomes the subject of a documentary when he attempts to start a pornography company. Following the failure of the company, Ken uses his father's religious music to start a Christian rock band but finds himself trapped in a gay conversion cult.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

A being from the beyond returns to Chile in 2019, embodied in a worker who dreams of social upheaval. Viral videos intertwine with fiction to narrate the experiences of a polarized country that wanders between drama and absurdity, illusion and failure.

On February 6, 2023, an earthquake on the border of Turkey and Syria claims more than 55,000 lives. On this day, I am in an oncology center, 6 days since having my tumor removed, and in the afternoon my partner ends our relationships. Blending memory and theory, this autofiction documentary unfolds the relationships between love(s) and catastrophes.

A housekeeper received a film made by her daughter. It's a film that combines found footages of Thailand during the Cold War with the present days images of Bangkok. Through these images she tells a story of the house owner and her own story of coming to the capital.

Two instants separated by 99 days conflict with each other.

Filmed in Berlin, July 1990. Images of workers taking down the wall and street peddlers selling pieces of it to make a living.

A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?

The word kewaaj (কেওয়াজ) is colloquially used to explain chaos, noisiness or annoyance. "Kewaaj" is an audiovisual attempt to give you a glimpse into how the people of Dhaka function in one of the most unliveable cities, according to the Global Liveability Index. Dhaka is fast, dense, intense. Yet the people try to find their peace in it.

Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

Three juxtaposing stories taking place in Portugal, Austria and Cuba create an intimate and poetic portrait of the daily lives and struggles of the elderly in an unstable world, seen through the eyes of their grandchildren.

A group of elders spends their weekdays in a retirement home in Sandim, in the north of Portugal, where they talk, do arts and crafts, practice yoga and pray. We follow them between October 2012 and March 2013, when an economic crisis overshadowed Portuguese society and unemployment rates reached record levels. Meanwhile, arrangements are made for the Carnival ball. Will they bring the first place home this time?

100 years ago an event happened that changed the world. Upwards of 70,000 were gathered in the little village of Fatima, Portugal. They were told, by an apparition that had appeared to three children—what many believed to be Mary of the Bible—that a miracle would occur. Something happened on October 13, 1917 and thousands of people witnessed it… It was called, The Miracle of the Sun.

In the summer of 1900, the first film camera was purchased by Mozaffar ad-Din Shah Qajar for Iran, and immediately the first Iranian moving images were captured by this camera. These images, in an obsessive manner, have embodied the mesmerized gaze of people. In the span of 79 years since the purchase of this camera, Iran has undergone two revolutions and two coups, and throughout all these moments, the camera has been present as the recorder of people's mesmerized gazes. These mesmerized gazes are in a way as if they are the ones looking at us, not the other way around. It seems like these gazes are trying to convey something, but what? No one knows. Now, we gaze at those who have gazed at us from a distant time.