A Wind Grazes Your Door

The film trilogy "Tetuan, Tetuán, Tetwan" deals with the traces that the colonial past in Morocco has left in Spanish society through an experimental collaborative methodology. It examines cultural production, public space and the collective imaginary through the prism of the ghost, understood as an echo of silenced voices and historical facts. Developed with Moroccan and Spanish cultural agents, the project explores narrative strategies to resignify places such as the Plaça Tetuan in Barcelona, the neighborhood of Tetuán de las Victorias in Madrid or the cinema “Español” in the proper city of Tetwan, Morroco.

Three young friends of Moroccan origin travel on a lost island, sing, dance, and take us into the shelter of an uninhabited lighthouse. They discover this unknown land like the explorers in a tale of adventures. Following them around in this strange place, Julieta Juncadella carries us away, like a wave, in the movement of a fantasy film. – Elena López Riera

Amidst the devastation of post-crisis Spain, mother and daughter bluff and grift to keep up the lifestyle they think they deserve, bonding over common tragedy and an impending eviction.

Exploring the issue of stolen children in Spain, the plot tracks Vera’s search for her biological son, given in adoption, thereby coming across Cora and her adoptive son Egoz.

A young man writes in a notebook on the riverbank as we hear a voiceover of phrases recited by his inner voice.

Atahualpa works on the construction of a road that will cross the Llanganates Mountain Range, where it is said that the treasure of Inca Atahualpa was hidden in 1533. One night, Atahualpa is the guide of an expedition that goes in search of the treasure at the beginning of the 20th century.

A Wen, 38, a businessman and family man in Barcelona, is also the filmmaker's brother. Just like in the gangster movies they watched on VHS as kids, he becomes involved with the Chinese mafia in Spain.

A festival of digestion on many scales, from planetary to microbial.

The film's footage was shot over several days in the area surrounding A Barca, an abandoned village in southern Galicia. It reveals our way of inhabiting a space in the Galician countryside through the act of filmmaking.

Telma decides to travel to Galicia with the intention to give back Desiderio, her father's dog which she inherited after the recent dead of her father.

African fashion model Alexandra Cartier meets Jorge Luis Borges in a visionary hallucination. What does the famous Argentine modernist writer have to say about our contemporary ecological and pandemic problems?