Fields of Sacrifice

In June 1963, President John F. Kennedy made a visit which would change America and the rest of the world’s perception of Ireland forever. Kennedy referred to his visit to Ireland as “the best four days of his life”. One of those days, June 29th, was spent in Galway, known for its long winding promenade, beautiful beaches and traditional Gaeltacht culture of music, dancing and Irish language. Told through the eyes of residents who were present on the day, the film recalls the euphoric excitement felt within the local community. Nobody in Galway had ever experienced such privilege before, nor had they felt such an atmosphere, and they’d certainly never met someone as famous as the President of the United States of America.

An exploration of modern ruins that seeks to record the traces of time in Mexico City.

Produced by the Highway Safety Foundation in 1964, this shocking film deals with a subject quite taboo for its time. The short serves as a dramatized warning, ending with graphic case studies.

Las Raíces del Roble

K Pacifiku přes Coast Mountains

Den s Petrem Čechem

A batch of mushy sourdough. Two radioactive lizards. Three cans of Campbell’s tomato soup. When COVID-19 lockdowns began in 2020, people around the world began reporting more vivid dreams.

The Chaperone tells the true, previously untold story of a lone school teacher who fought off an entire motorcycle gang while chaperoning a middle school dance in a church basement in 1970s Montreal, Canada. Told from the first person unscripted perspective of the school teacher and DJ who were there that night, The Chaperone recreates the whole scene using hand drawn animation, miniature sets, puppets, live action Kung Fu and explosions all done in stereoscopic 3D. With over 10,000 hand drawings (many of which were colored in crayon by hand), an original blaxploitation score and featuring a cast of over 200 people, The Chaperone is an unconventional approach to documentary shorts.

Since Rosa was little, people used to say around town that her grandfather was a black dog. The legend, belonging to the Valley of Oaxaca, spoke of a man who had the ability to turn into a black dog and roam the streets at night. Through images of the town, interviews with the brothers and animated interventions, the documentary tells the story of the myth and its importance in the collective memory.

Animated training film depicting the fundamentals of electricity and how electrical signals can be used to keep an airplane on correct course and altitude through an autopilot.

Images, voices, and interrupted silences that evoke the intangible losses caused by COVID-19.

Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

Jardins du Luxembourg

An expressive short film in which examples of early and modern art are juxtaposed to reveal correspondences.

In conversations with passionate sociologist and political thinker Jean Pichette, the filmmaker views the forced downtime stemming from the current crisis as an opportunity to rethink our modes of existence and our relationship to others, nature, science, the economy, art, politics—in short, everything that makes us human.

A videographic snapshot of one of the most bizarre points in human history.

A short film about a small town where the past and the present are difficult to tell apart.

Likely in June 1897, a group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.