Summer 1993

A modern, cinematic view of flamenco as a living art form, defined by the push and pull between tradition and innovation.

In a small village in Catalonia, the peach farmers of the Solé family spend every summer together picking fruit from their orchard. But when plans arise to install solar panels and cut down trees, the members of this tight-knit group suddenly face eviction – and the loss of far more than their home.

With her mother's diary in hand, Marina's search for official documents for university leads her to her biological family on the Atlantic coast. What starts as an administrative quest reveals long-buried family secrets.

In the form of a filmed epistolary conversation, two young, experienced filmmakers discuss film, present and past family, heritage and maternity. The personal and profound reflections—which are embodied in the graceful images taken day-to-day—are suddenly echoed by the political emergency of a country.

Alex, a young actress, is sexually assaulted at a New Year’s Eve party at a friend’s house. That night, she never manages to see the face of her aggressor, a fact that will end up eating away at her. Throughout the following year, she will have to face feelings of guilt, disgust and shame. While Alex tries to channel all her pain through theatre, where she takes on the role of the famously vengeful Medea, her brother, Adrian, must face the guilt he feels at not having been able to protect his sister and his impulse to let himself be carried away by his own decisions. What were once the typical conflicts you might expect between any siblings, give way to much more extreme and complex emotions.

Anita is the story of a complex and interdependent relationship between a mother and daughter. They have difficulties living together and have never been able to express their love for each other. Joana has dwarfism, and Maria, a beautiful, elegant and sophisticated woman, has never accepted her daughter's condition. The silenced taboos between the two women will echo more than ever when they get the house ready for Juan's visit, the son and brother who lives far away.

Lacuna is an experimental short film that recuperates Neus Pipó character, the director’s mother, combining the reading of her letters, with a trip through the places where she wrote them.

Edu is dancing in a bar when Alex comes looking for him. He has some news that will have a profound effect on Edu.

Carla is pregnant and naked, imitating the poses her mother took when she was pregnant with her. Sunlight filters through the windows. You see pictures in Super-8 of mothers and fathers, grandmothers and grandfathers, smiling, sewing, reciting poems. Then, a young girl travels from the Sixties to the Eighties, until today, crossing the thresholds of femininity and history, until the meeting with Carla by the Blue Sea of Catalonia and with Manel, Carla's newborn son.

Sophia and Oliver are two little siblings who enjoy playing at their grandma's place while she sleeps. However, their games get interrupted when Oliver realizes that grandma is not moving anymore. Sophia and Oliver encounter death for the first time and have to deal with it on their own.

A unique project that will mix different disciplines to create an exceptional fusion between the performing and audiovisual arts.

Chumi is the janitor of the summery Apartamentos Paradiso. He has turned metal detecting into a magical illusion that helps him endure his day to day life. Last days of summer he needs to find something worthwhile.

The bodies of women lying on the ground weave relationships around them, they breastfeed, they connect with the ground ... Carla Simón's first short, shot on 16 mm in the Californian forests. An experimental exercise that connects with the cinematographic avant-gardes of the early twentieth century.

A station. A boy. A girl. The same book. An exchange of looks and movements that tends to a loving dream with an unexpected ending. A 16 mm black and white exercise made by the author during her first trimester at the London Film School.

After receiving it as part of her inheritance, Ana decides to move into her painter grandfather's house with her partner, Lucas. In one of the rooms, they find an unfinished triptych that will make them go deep into a paranoid artistic process.

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.