David Doutel

The last habitants of a village refuse to let themselves sink into oblivion.

While transitioning from male gender to female, Matia struggles with finding a sincere intimate relationship with a heterosexual male.

The character in red is contained in a web of repeated and interlocking actions of her routine. However, the yearn to free herself from automatisms and frustrations grows stronger and louder. From the inside to the outside, from the mechanical to the spontaneous, one character becomes several. They explore the possibilities of doing without thinking.

A shoemaker wrapped up in memories of his life and the demands of his job, experiences a crucial moment in his existence. We accompany him through an enormous day in his life which will determine his future.

It’s like soot that rests on the walls of our head. We can’t see it. It belongs there already.

With the sea and urban Algarve as the backdrop, we follow a complete life cycle of a special shellfish called percebes, the goose barnacle.

In a rocky island exposed to the elements, a lighthouse keeper lives alone with his daughter. From the top of his tower, the father keeps vigil to the horizon line and for the safety of the passing sails. With no other company, the girl develops a unique complicity with the sea, which brings her toys in the shape of debris on the shore. Following the rhythm of the waves, these objects will unveil previous events, memories that the tide cannot erase.

The pieces silently start gathering into the room, while the giants, unaware, keep living their macabre routines.

This is the story of a sixty day long walk in Cape Verde. No mobile phone, no watch, no plans for what to do next – only the bare essentials in the backpack. Out traveller explores the mountains, the villages, the sea, a talking tortoise, the goats, the music, the dry haze, the people of Cape Verde and an essential part of himself.

During a harsh winter, a river by the house of two cousins freezes over. In the cold wind, their relationship grows bitter, reaching its limits.

A woman wanders through the impermanence of her childhood memories, trying to reconstruct the history of the house where her grandfather lived.

She has a large head and a small body. Her clothes are fitted to the size of her head. He has a small head and a large body. He wears a mask fitted to the size of his body. Both hide the features that they believe to make them weak. Their special defects… A chance encounter, or rather a bump-into-each other, and their “masks” fall off, and they realize they make a perfect match.

In Sarajevo, in a cinema’s projection booth, lives Sena; a woman who in daily solitude repeats the projection of the few Yugoslavian films of which there are copies. Through a combination of silence, the everyday gestures of this woman and the films that are projected from her living room, comes a film built like a day in Sena’s life. Through the films that Sena projects, we are taken on a journey in both collective and personal memory. The film offers a portrait of intimacy crossed with a history witnessed by cinema; a history which Sena has conserved.

A Garrano horse is forced to pull a heavy load under the sun's blazing heat. The young boy, Joel, discovers a man who is about to set the forest on fire.