LALGAM - portraits of survival

Spanish actor Pepe Viyuela embarks on a personal journey on the trail of his grandfather Gervasio, a soldier in the Republican Army during the Spanish Civil War.

In April 2007, during the celebration of FiSahara, three friends embarked on the adventure of teaching a photography course in the Dajla refugee camp in Algeria.

Tebraa is the song of the women of the Sahara desert. Songs of love or lamentation that they sing when they are alone. This collective documentary made by a group of Andalusian women tells the life and injustices that Sahrawi women experience in the adverse conditions of exile and in the occupied territories of Western Sahara.

In this docudrama, the real star is a railroad tunnel. First built, at the instigation of a banker and an engineer, in 1872 under appalling conditions, it was widened to accommodate automobiles in 1972. The tunnel links the Rhineland in Germany with Italy and goes through the Swiss mountains. The many lives lost in the building of the first tunnel were considered to be one of the costs for economic progress. In one re-enactment, a strike for better conditions is severely dealt with by the military. Even in 1972, though working conditions were better, most of the men working on the tunnel were poor immigrant workers, with almost no power to negotiate better treatment.

Documentary about the arduous early years of the Sahrawi cause (1977)

Voyages au centre de la Terre : Dans les pas de Jules Verne

Filled with vitality, humor and unexpected situations, Hamada paints an unusual portrait of a group of young friends living in a refugee camp in the middle of nowhere. Western Sahara is known as “the last colony in Africa” and this conflict is the longest and one of the least known ongoing disputes in the continent, but the Sahrawi people refuse to become invisible.

In the chaotic aftermath of the fall of Saddam Hussein, Fakhir, a father of eight, is serving in the Iraqi army. All around him, he sees innocent civilians getting injured by landmines, so he determines to disarm them with his own hands, using just a pocketknife and some wire cutters. He clears thousands of roadside bombs, mines and car bombs, knowing that every time he cuts a wire it could cost him his life—which he seems to find less important than the lives of others. In 2014, by this time having lost a leg, he starts working for the Kurdish Peshmerga, disarming boobytraps left behind by Daesh in and around Mosul. An enthusiastic home video maker, Fakhir collects hundreds of hours of footage of his day-to-day work.

10 May 1943. Something is spotted drifting ashore off the coast of Northwest Donegal, Ireland. Something that would change the lives of the local people forever.

Straddling a 2,400-kilometer-long wall constructed by the Moroccan army, the Western Sahara is today divided into two sections — one occupied by Morocco, the other under the control of the Sahrawi National Liberation Movement’s Polisario Front. Drawing from stories of flight, exile, interminable waiting and the arrested, persecuted lives on both sides of that wall, this film bears witness to the Sahrawi people, their land, their entrapment in other people’s dreams. In an esthetic that sublimates the real, Lost Land resonates like a score that juxtaposes sonorous landscapes, black-and-white portraits and nomadic poetics.

The political upheaval in North Africa is responsibility of the Western powers —especially of the United States and France— due to the exercise of a foreign policy based on practical and economic interests instead of ethical and theoretical principles, essential for their international politic strategies, which have generated a great instability that causes chaos and violence, as occurs in Western Sahara, the last African colony according to the UN, a region on the brink of war.

OUT OF DARKNESS: THE MINE WORKERS' STORY is a documentary by Academy Award-winning director Barbara Kopple (HARLAN COUNTY, USA). Historical film footage and photographs are integrated with first-hand accounts of UMWA history and of the Pittston strike of 1989-90.

Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.

The Saharawi women face the thirst of the hamada, the curse of the desert, every day. They’ve built their refuge in a land where no one could survive before. For more than forty years they’ve been holding out and taking care of their people there. They ensure every drop of water is distributed according to the needs of each family … and they wait. But there’s an even more terrible thirst in their throats, for which they find no relief.

Testimonies of a people enlisted on the path of independence. Records taken at refugee camps in Tindouf (Sahara Desert in southern Algeria) and Bir Lehlu (region liberated by the Polisario Front)

This film offers a picture of the tense situation in which the Sahrawi people have lived for more than 30 years. The yearly celebration of a marathon in the Sahrawi refugee camps serves as the central focus of the story.

In a refugee camp in the Sahara desert lives a deaf boy who wants to learn to write. Welcome to the silent world of Kori and his best friend the camel Caramelo.

It happens in Ecuador and South Korea, in Italy, in Venezuela and also in Western Sahara. Three men and two women live every day acting against the global corporate order. Their actions are the voices of others, of individuals, of crowds, of many. Those who seek another world.

Mines antipersonnel : La guerre des lâches

One inside, one outside. One thin line that creates “us” and “them”. The importance of the borders has again a huge impact in Europe. Yesterday it was all about free movement. Today it´s about controled borders. And walls and fences have become normality. “Before our eyes” is a testimony that shows a situation where Hungary, and indirectly Europe closes itself to the outside world. The film portrays four places, four events, which was filmed over three days in early September 2015, when the worst refugee crisis we have seen since the Second World War started in earnest. “My Europe does not build walls!” said Stefan Löfven, the swedish prime minister, in a speech a few days later. Before our eyes shows how words and actions are no longer connected. Today, Spain, Greece, Bulgaria, the UK, Hungary, Slovenia and Austria have built fences and walls to strengthen theirs and Europe’s external borders.