After Shideh's building is hit by a missile during the Iran-Iraq War, a superstitious neighbor suggests that the missile was cursed and might be carrying malevolent Middle-Eastern spirits. She becomes convinced a supernatural force within the building is attempting to possess her daughter Dorsa, and she has no choice but to confront these forces if she is to save her daughter and herself.

A policeman sneaks into the local telecommunications fraud center on the China-Myanmar border and tries to solve the fraud case.

Late one night, while waiting for his father to come home, Xiaopi is attacked by a monster and escapes from his house. A child who dares not sleep in his bed, a father at his lowest point in life, and a monster that should only exist on game cards. Is it a dream, an illusion, or reality?

Under the Shadow of Azkorri is a visual essay which investigates the spaces of images, departing from a photo taken on the beach of Azkorri (Basque Country). Questioning how a change of perspective might alter the sensibility towards an image, the video evolves around positioning a gesture encountered in the movie Még kér a nép (Red Psalm, 1972). The director subsequently encounters this gesture in a photograph of Russian LGBTQIA+ activist Yelena Grigoryeva. She explores that particular symbol by drawing lines to her own queer sexuality, to the aesthetic representation of communism, as well as to questions of dispossession and appropriation.

Matko, a 42-year-old Ethiopian man, is released from prison 15 years after murdering his wife. He sets out in search for his only son who was two at the time of the murder. After finding out that his son supports himself through sex work he contemplates ways to help him.

This documentary attempts to reveal the complex nature of contemporary Bangladesh society and the media, their interrelationship and how women in real life roles are mirrored by the media.

This video essay focuses on the landscapes of the Sonoran Desert—and the project of a border wall between the U.S. and Mexico—as a way of investigating the manner in which something as seemingly generic as a wall can take on particular political and affective forms. This short provocation explores the ways that violent and distasteful objects create, and subsequently come to characterize, malevolent spectacles.

In this picture it is shown how a convict's life still remains under the ban of the law, even after the expiration of his term. With the detective continually on his track, he is able to save both a young woman's honor and her weak brother from the hands of a designing employer.

In a corner of Eastern Congo one woman puts herself at risk everyday to help thousands of Congolese rape survivors embark on a journey of healing. Seeds of Hope tells the story of Masika, herself the victim of multiple rapes, who runs a centre that helps other rape survivors and children born from rape come to terms with what they have lived through. The women and children farm a small patch of land together that provides them with an income, a sense of stability and a form of therapy. However, the battle against endemic rape is far from over. Filmed over two years, Seeds of Hope takes us deep into the lives of women and children rarely seen.

Made with a rudimentary pinhole technique, traces of a mountain landscape are captured in black and white.

Two young lovers try to con a wealthy woman out of her inheritance by pretending to be brother and sister.

A portrait of the Spanish director Lorenzo Llobet Gràcia (1911-76), one of the outsiders of Spanish cinema, and the story of his masterpiece, a cult work that tells the story of a self-taught filmmaker who was born under the sign of the shadows, lights and chiaroscuro of cinema.

Germany, 1929. Helmut Machemer and Erna Schwalbe fall madly in love and marry in 1932. Everything indicates that a bright future awaits them; but then, in 1933, Adolf Hitler and the Nazi Party rise to power and their lives are suddenly put in danger because of Erna's Jewish ancestry.