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Three former members of a metal band meet after a funeral to edit a short film using videos from a trip to Brazil.

In the middle of a beach, the film follows an introspective and sensorial journey, from the farthest point to the deepest place, from the external world to the emotional system. Upon contact with the sea water, the skin and body transform into a gateway to an inner fissure, revealing a complex emotional portrait manifested as fragments of sharp, broken glass, submerged in the sea. As the shards continue their descent, images blur into progressive patterns that expand and contract culminating in a visceral and cathartic transformation.

A young girl named Lizzie spends an afternoon playing with a lizard she found in her garden. An accident occurs, and the lizard is hurt. Filled with sadness, Lizzie gently buries the lizard and places a flower on its grave, highlighting her tenderness and the fleeting nature of life.

A visual meditation on the passage of time and wear and tear. Playing with light and its projections, the image fades and resists. A reflection on absence, memory, and the transformation of what we believed to be immutable.

The work resulting from the Miradas Diversas workshop was created through collaborative processes with filmmaker David Fidalgo as tutor. The proposal represents an audiovisual approach to the urban space of the city of A Coruña: the way its citizens inhabit, share, live, and coexist. The artistic vision of the proposal is part of the tradition of "urban symphonies": documentary films that record the spaces and people of a city.

The (marine) nautilus, known as living fossil, is a cephalopod which has managed to survive 500 million years despite its clumsiness.

The wood is dead, but resuscitates in the charcoal kiln. It takes a breath, steam, a strong smell, inhales deeply; all meanings captured by the basque word "hatsa". It is the spirit about to disappear, and come back to life as flavour and smoke. Charcoal, our forebears' way of life, offers us the chance to work together with the mountain.

Margarita recalls her childhood in the baserri. Tending the vegetables and caring for the animals was a task shared by the whole family.

Jon returns to his grandmother's farmhouse and comes across an old recipe book. Determined to recover the flavours of his childhood, he travels to markets and ports in search of local ingredients to make a marmitako tuna stew combining past, present and roots.

Nuno is a one-year-old who is starting to talk. His parents speak Galician to each other and Spanish to him, so he doesn't know which one to use.

Voices of six people living with HIV, from different ages, identities, and cultural backgrounds. Their intertwined stories create an intimate, diverse, and human narrative. Through personal diaries, home recordings, reflections, and fragments of their everyday lives, the documentary invites us to listen to what it means to live with the virus today.

In the middle of the night, farewells and wishes blend with the foam of the sea. Meanwhile, two childhood friends face a goodbye that might change everything. Among silences and heavy words, they search for a better future while their land and their love tie them together.

The rocks, sculpted by sea and wind, stand resilient, displaying the scars of the fragments torn away. From that beach, a young Sahrawi embarks on a mental journey to his last visit to the camps. The places, the rituals, the history, and the time make his voice merge with the memories of his mother's stories, showing a deep contrast between the situation in the recent past and the present.

Guillermo, an elderly man, is in love and reliving an exciting moment in his life. His children oppose the relationship, citing various reasons. Guillermo tries to make them understand, but his mind is already made up.

Mussels in Galicia have their own unique character. Consumed since the Iron Age to the present day, they marked a turning point with the arrival of the first boats in the Ría de Arousa around 1945. At this time, they went from being harvested in a rustic and primitive way to being cultivated, becoming the economic engine for many coastal towns.

Time fractures in the palm of our hands. The need to understand it is imperative, while the urgency to master it becomes increasingly pressing. As we attempt to decipher the extent of our true freedom to master time, we fragment along with it, and in that instant, we become one. And meanwhile, the guardians of its threads watch us. Thus, we will never know if we act while they watch us or if we are mere witnesses to their decisions.

The roundabout featuring the Olmec head in Vallecas contains an exact replica of one of the colossal heads sculpted by the pre-Columbian Olmec culture. The sculpture was donated to the city of Madrid by the Mexican state of Veracruz and is completely decontextualized. Taking this nondescript, transit location as its starting point, the film Colosal #8 is conceived as a kind of colossal film that speculates on the transfer of archaeological artifacts and the historical relations between Mexico and Spain.

On 10 June 1979, an off-duty member of the Guardia Civil killed a cross-dresser named Francis in the Apolo bar in Rentería. This particular incident was the spark that started the LGTBIAQ+ movement in the Basque Country.

When night falls, the city lights up thanks to the great machine. Its inventor takes care of it, but he’s not alone. Small creatures live in the lightbulbs of the tower and see the inventor’s struggle as the machine deteriorates, so they decide to help him. But, how easy will it be to help someone who doesn’t want that help?

Amid chaos, loss, and solidarity, neighbors recall how water brought them together in the storm.

In this documentary, those affected by the DANA in Valencia describe the real situation in their towns eleven days after the disaster. It recounts the chaos, the solidarity among those affected, the improvised organization, and the response of both the Spanish government and the people of Valencia.

A series of ixiptla related to some entities/energies of sexuality for some Mesoamerican cultures and some of their symbolic animals.

A montage combining voices and mysterious sounds. A grandmother tells her grandson about the Lamias, mythological nymphs from the Basque Country who protect those who seek their help. The short film concludes by stating that the Lamias still inhabit the sea.

In Almeria Province in Spain, a sea of plastic sheeting covers the land creating the the largest collection of greenhouses in the world. The invernaderos (as they are called in Spanish) cover upwards of 150 square miles and are visible by the naked eye from space. A large proportion of Europe's vegetables and fruit is intensively farmed here. A huge amount of plastic waste is created each year, estimated to be more than 30000 tons. These hot houses are staffed by an army of African migrants working in extreme heat conditions in the summer months.

Memory offers us a basis on which to recognise ourselves, but how can we remember something that nobody talks about? Through archive images provided by the Basque film library, Isa Sáez talks to her grandmother about the taboos of their relationship. This film was created in “Memorias Sinvergüenzas” a queer cinema lab from Elias Querejeta film school and Tabakalera.

Alba, Marta, and Celeste call upon supernatural forces to battle the greatest evil of all: a man.

Since time immemorial, there has been an object that has filled pages and hours of celluloid, awakening human curiosity and a thirst for legends: the Holy Chalice of the Last Supper, or Holy Grail. But is it closer than we think? What is its real history? What legends have led it to achieve universal recognition?

A documentary about the history of the fishing boat Ortube and the renovation work that has been carried out since 2016.

An interior monologue mourns a past relationship. In the present, the revenge plan of a broken heart.

Henrietta Lacks' eternal cell line, the cloned sheep Dolly, artificial wombs, ovules and mice appear both as scientific products and as actors that confuse the concept of the human. A reflection on reproductive bodies in the technosciences.

Following a period of seclusion, a return to modern times.

170 metres of 35mm film consumed by fire. Each metre, contact copied back onto its original medium, come together to create this portrait of the toxic relationship between a lighter and the film.

A cell phone has been found, broken and smashed to pieces. The memory card still has the last recordings made, which reveal that the owner of the device was out partying with friends when they found a paper maze game. Amused by the memory of this innocent childhood game, they decided to spend some time completing the challenges set by the maze.

A teenager is mesmerized by a boy sitting across from her in an American restaurant. From that moment on, she can't take her eyes off him. Her obsession grows so quickly that, after a few minutes, she begins to imagine a life with him while singing a love song.