Andalucía entre el incienso y el sudor

This Traveltalk series short looks at four of Spain's most famous cities, Granada, Seville, Toledo, and Madrid, with an emphasis on the Moors and their influence on the country.

Filmed in Cordoba, Granada, Seville, and Toledo, this documentary retraces the 800-year period in medieval Spain when Muslims, Christians, and Jews forged a common cultural identity that frequently transcended their religious differences, revealing what made this rare and fruitful collaboration possible, and what ultimately tore it apart.

The film shows the genesis of the El Rocío pilgrimage and unveils the economic, socio-political and religious reasons and interests that nurture the phenomenon.

In the town of San Antonio in Guerrero, Mexico, lives my mother, Amelia, a 60-year-old woman who leads a quiet life on her ranch, tending to the land and her husband. With the arrival of Holy Week, she is joined by my niece, Rosario, her granddaughter, whom she teaches about religious traditions. Their encounter quietly evokes questions about the role of women in my town. Despite the generational differences, they see themselves reflected in each other and share a deep desire to transform our destinies.

Fernanda Ocaña, a 60-year-old drag artist from Seville, left her hometown at 14 to build a life in Barcelona. Taken in by the iconic Spanish artist José Pérez Ocaña, she immersed herself in the world of show business. Today, she continues to shine as the host of the Bar Ocaña in Plaza Real, welcoming guests with her unmistakable charm.

Religious-based images and traditions permeate the lives of all the people who inhabit Seville. Historically, the city's mariquitas ("sissies") have also assimilated them in their childhood and, through them, have been creating their own encounter spaces and their own codes. Nowadays, new dissident identities continue to respond to them: they participate or distance themselves, they continue what exists or transform it. This film looks at these traditions from a perspective always relegated to the margins.

Seville, Spain, 14th century. A group of black slaves brought from Africa form the Hermandad de los Negros, a Holy Week brotherhood that has survived over the centuries, despite the opposition of the powerful; still active, it is one of the oldest institutions in Europe.

An intimate and collective documentary of a historic event that brought the devotion of Our Lady of Hope from Málaga to the heart of Rome for the Grand Procession held on May 17, 2025, during the Jubilee of 'Pilgrims of Hope'. Different paths—personal, spiritual, and physical—converge on a single destination: Hope. An experience lived not only in the streets of Rome, but also in the hearts of those who participated, becoming a testament to faith.

On the border, the line as principle of property and belonging reaches an extreme dimension where it physically defines the sphere of its relations. Those who transgress it reconstruct these imaginary lines on a daily basis, redefining the traditional geography and occupying the non-spaces where others live in a temporary form of existence. These others, the non-citizens, are phantasmtic, exchangeable parts of a flexible market. Made invisible, they are permanently controlled persons. Under the pretext of a greater civilian security, they are kept clear from the public spaces reserved for the citizens with rights and pushed into non-public spaces, which are run by state and military surveillance, multinational operations servicing a European market and non-governmental organisations.

A documentary about the inner, unknown world of the brotherhoods, a universe of its own with its own laws, rules, and philosophy far removed from religion, which were (and in many ways still are) foreign to most people, especially the non-Andalusian majority in Spain. It is the only audiovisual document that captures the pivotal moment for the "people at the bottom" when professional bearers (dockworkers, day laborers, and various other wage earners) are being "pushed out" of the brotherhoods and replaced by fellow bearers. From an anthropological perspective, "Costaleros" projects peculiarities of Andalusian culture that are often misinterpreted and misunderstood from the outside.

This short documentary, with its aim of exposing the festival from the perspective of Andalusian culture and anthropology, delves into the complexities of this celebration. Understanding how difficult it is for outsiders to grasp that a saint could be a member of the UGT (General Union of Workers) during the Civil War and possess a membership card, we gradually decipher the festival while simultaneously revealing features common to many other celebrations deeply rooted in the culture and popular religiosity of the Andalusian people, such as the presence of a communist mayor presiding over the saint's procession and offering cheers.

"Nueve Sevillas" is a heterodox psycho-geographical profile of the new flamenco in Seville. Nine characters coexist with the great flamenco artists of today.

A film essay that approaches cinema as a water current, revisiting a body of previous essay films through the recurring image of water—rivers, seas, tides, and flows—to explore cinema as a fluid space of memory, movement, and transformation.

An philosophical film assembled from archival NASA footage exploring humanity’s search for meaning in the silence of space.

Emilio Pascual, a historical figure of Andalusian cinema from the early 1900s, appears in today's Malaga with the mission of bringing the first documentary filmed in Andalusia to its first screening.

The documentary Felipe González approaches some of the most important facets and stages of the Andalusian politician's life, before becoming President of the Government of Spain: his early years, his high school studies at the school of the Claretian Fathers in Seville, his years in the Catholic Action University Youth and the Catholic Workers' Youth, his entry into the Spanish Socialist Workers' Party (PSOE).

Libertad negra

An experimental and iconoclastic journey through the Spanish Holy Week in the late sixties.

Storm

A young drag queen from Andalusia exposes the difficulties of adding aspects of her homeland culture to her artistic expression.