A light turns on. They are elusive and hard to see.
They inhabit where nothing exists. There. In the deep.

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In Camille & Ulysse, the philosophers Vinciane Despret and Donna Haraway join their voices in this audiovisual piece based on two of their fables, The Camille Stories (published in Haraway’s Staying with the Trouble: Making Kin in the Chthulucene, 2016) and Despret’s Autobiographie d’un poulpe (Actes Sud, 2021).

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A bunker refuses to disappear into oblivion. Its echoes reach Pamplona, the residual, predictable and automated world of Cosme, where one of his employees panics and flees, burning his wheels, as if pursued by a beast.

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A woman moves through a city, Vigo. A filmmaker, a writer, a walker among ruins. Margarita Ledo. She searches for a sign, one that leads her to the Álvarez ceramics factory. Steps lost to the rubble yet, at the same time, an experience full of questions, of the passage of time, of the different states of disappearance that lead to death but which, paradoxically, appear as living memory of a traumatic rupture. A poster as an act of invocation for a departed factory town, an industrial heritage overshadowed by crisis and speculation. The body in movement, and in solidarity, as acts of hope. And film, resin and gold, that rebuilds the fractures of the past.

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Negro Púrpura portrays 20th century Galicia through the cláviceps purpúrea, a hallucinogenic fungus that grows on cereals, which opens the door to a story as curious, surprising and unknown as it is important to the evolution of our culture, and the economy of an era. Ergot, smut… this fungus with a thousand names connects us with the rest of the world and feeds stories from the next-door neighbour, to pharmaceutical multinationals and the CIA; from medieval plagues, through popular medicine, to LSD. Scattered tales that leave a bitter taste of rye and reverberate across oceans. A crust that holds a delirious crumb.

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Overseas is a documentary made with images shot by families who lived in the colonies, provinces and territories under Spanish rule between 1940 and 1975. It is basically a succession of snapshots of the kind taken by people who move to another country and set up home there. The album flicks through the pages, and at times the screening stops and the editor rewinds, enlarges, analyses and looks for recurrent themes in the family material. What themes are repeated? How are Nature, work, women, or raw materials portrayed? What is the subject’s position in the frame? Is there some trace of the colonial element in the domestic images?

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A village in rural Galicia. Some of the people still living there. The incessant search for beauty in everyday life, where nothing ever happens. Or does it?

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In Galicia, Spain’s most northwestern region, one of the oldest forms of Carnival takes place every year. Spread over several days are parades with felos and peliqueiros, characters who wear spectacular outfits, including a striking mask and a belt strung with large cowbells. Another tradition is the farrapada, in which participants pelt each other with rags covered in mud. There is also a fight in which flour and ants are thrown on the participants, and a huge model ant towers above the crowd. The peculiar celebrations, lit by torches and accompanied by drums, are compellingly filmed in this short documentary—it is as if you were standing among the revelers yourself, immersed in an age-old pagan ritual. The nighttime scenes of a partying crowd, often packed tightly together, gain extra significance in the knowledge that this celebration took place in late February, just ten days before the first confirmed case of Covid-19 in the region.

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Andrea had her First Communion. But the ceremony lacked glamour. For Andrea, things without glitter don’t count. The only problem is: does God exist?

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A reflection on the meaning of travel through images found by the filmmaker in an old chest, recorded by her grandmother in China one year before the massacre in Tiananmen Square. An intergenerational dialogue that reconstructs and reinterprets these found footage images through the eyes of a young filmmaker.

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In Sarajevo, Mirsada and her daughter have survived for twenty-five years in a collective centre, awaiting a definitive accommodation solution that never arrives. In Georgia, hundreds of people displaced by the Abkhazia war are starting to receive the promised government housing in Tbilisi. However, it is hard for Dani, Gio and Vika, aged eleven, to accept they’ll have to separate and leave their neighbourhood where they grew up. And in Greece, Alia and Hussein – who fled the war in Syria – anxiously wait to be reunited with their daughter Zozan from Polykastro, a limbo that is not easy to escape.

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