Julián Galay

According to the myth still in force in the coal towns of Patagonia, if a woman enters a mine, the earth becomes jealous. Then, there’s collapse and death. Shady River starts from a dark personal experience to transform in a film about the silence of women who live in men's villages. How to film where our presence is prohibited? How to record the resonances of what doesn’t sound? As the fog and smoke from the power plant cover the town, the voices of the women of Shady River force their way between the white of the ice and the hum of the drilling machines, until blowing up the structure of silence.

The filmmaker decides to make a film in an attempt to remember a dream from his notes: at the crossroads of essay and diary, the film offers a sensitive investigation into the relationship between dreams, animals and the city.

An e-mail and a found book are taken as evidence for an investigation: through analysis from a forensic software a relationship between what is built by humans and the spread of a virus is sought. What is the secret relationship between stones and pixels?

A photographer works with different images of his territory and wonders about the landscapes and relationships between the Patagonian steppe’s people, institutions, and wildlife.

In the drowsiness between sleep and wakefulness, the birds sing. The river forms a border yet also unites; it is a bridge shaped like a 3D dream, where the Río de la Plata wetlands meet the shores of Gaza.

This fully archival journey through the 35 years of Alfredo Stroessner’s regime in Paraguay reveals unseen footage and explores one of the longest-running dictatorships in history, whose effects still resonate today.

A father took photos during the Chilean dictatorship. His daughter plays with him in the darkroom, developing other images. Images to resist and invent other futures.