Yo no soy de aquí

Day after day, an elderly woman recalls the Spanish Basque country of her youth — while forgetting she is consigned to a retirement home in Chile.

On nous appelait Beurettes

Relics of the Future

A documentary featuring internationally renowned photographer Toni Hafkenscheid as he explores hidden stories behind iconic architectural structures once considered "Visions of the Future" from the 1960's. This film is a light-hearted look at the way we perceive life and embrace modern advancements. It is a photography expose that becomes a personal journey of self-discovery while exploring innovative Visions of the Future that celebrate memories of Toni's, and our, collective past.

Bongó Itá

A rare close-up of the Abakuá —an Afro-Cuban religious brotherhood that has been hidden from outsiders until recently. A symbol of resistance for over 200 years, the Abakuá society has managed to survive slavery, the Spanish domination and the Revolution, spite of all the bias and misunderstandings about their traditions and rituals.

Amaro: O Colégio da Memória

About to turn 100 years old, Santo Amaro School closed its doors in 2020, amid the pandemic, leaving former students in deep sorrow. The story of the school is now told by different generations of students, teachers, nuns and employees, who return to the school building to remember their time over there: an unreachable past, which, through memories, becomes present once again.

Las llaves de la memoria

Disfonías

After a premonition of an unusual bird, a father loses his voice. His daughter undertakes a search to rediscover him, through an intimate narrative that explores the past, the new facets and the silences of a man who is no longer the same.

Fordlandia Malaise

Fordlandia Malaise is a film about the memory and the present of Fordlandia, the company town founded by Henry Ford in the Amazon rain forest in 1928. His aim was to break the British rubber monopoly and produce this material in Brazil for his car production in the United States. Today, the remains of construction testify to the scale of the failure of this neocolonialist endeavor that lasted less than a decade. Nowadays, Fordlandia is a space suspended between times, between the 20th and 21st centuries, between utopia and dystopia, between visibility and invisibility: architectural buildings of steel, glass, and masonry still remain in use while traces of indigenous life left no marks on the ground.

Memória de uma Criança Afogada

Ergui as Mãos aos Céus e Não Havia Mais Luz

As You Are

A glimpse into a visual representation of memory; A Christmas-time series of meals, coffees, and movies, with friends, lovers, and housemates. Faced with the compounding of faces and places, each moment begins to collide with one another: voices are muddled, and faces are broken. How is memory created? How are they separated from one another?

A Minha Avó Trelotótó

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

Retratos Fantasmas

Downtown Recife’s classic movie palaces from the 20th century are mostly gone. That city area is now an archaeological site of sorts that reveals aspects of life in society which have been lost. And that’s just part of the story.

L'ordre Français : 17 Octobre 1961

“In Algeria, we are restoring order, what we mean by French order,” declared Michel Debré, Prime Minister, under the presidency of Charles De Gaulle, in April 1956. It was, of course, order colonial in defiance of the republican order, in Algeria as in Paris where, on October 17, 1961, Algerians flocking from suburban slums were massacred by the police of prefect Maurice Papon, while they were peacefully marching for the independence of their country. On October 17, 2001, a commemorative plaque was placed in Paris on the Saint-Michel bridge: "In memory of the many Algerians killed during the bloody repression of the peaceful demonstration of October 17, 1961." A surge of racial hatred, less than 20 years after the roundup of the Jews in July 1942. An Algerian, victim of this roundup, told us, holding back his tears, "I still have nightmares."

History and Memory: For Akiko and Takashige

This film is a poetic composition of recorded history and non-recorded memory. Filmmaker Rea Tajiri’s family was among the 120,000 Japanese and Japanese Americans who were imprisoned in internment camps after the attack on Pearl Harbor. And like so many who were in the camps, Tajiri’s family wrapped their memories of that experience in a shroud of silence and forgetting. This film raises questions about collective history – questions that prompt Tajiri to daringly re-imagine and re-create what has been stolen and what has been lost.

La bisabuela tiene Alzheimer

A meeting between the daughter and the grandmother of the director, Iván Mora Manzano, at a time when the memories of one, the girl’s, were taking shape, and the other’s the grandmother’s, were vanishing. This starting point is used as a pretext to talk about other topics such as the importance of family memories and the search for memory.

Familiar Phantoms

Familiar Phantoms is an experimental documentary short film about memory, history and trauma.

Unknown White Male

The true story of Doug Bruce who woke up on Coney Island with total amnesia. This documentary follows him as he rediscovers himself and the world around him.

Casa de la Noche

Shot in Havana and processed at Phil Hoffman's Film Farm, Marcel Beltrán Fernández's Casa de la noche explores those same histories from the point of view of an insider, as a lived experience that is evocatively mirrored through ripped and torn celluloid.

Je ne me souviens de rien

January 2011 : the revolution bursts in Tunisia, my father’s country. The Tunisian people scream in a rage and I, here in Paris, can feel their revolt vibrating in my heart.