Hermógenes Cayo (Imaginero)

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

Amanar Tamasheq parts from the exciting adventure of the director on a trip with the Tuaregs rebels in the desert of Mali, to convert the camera into the most powerful weapon. The terrible history of this people, always under threat, is built through their own words in a text that, from their own statements reworked, overlaps in the form of subtitles to images. These, far in the highest degree of language that normally tells the violent, they gain political power and radical rarely seen.

A documentary that invites us to discover the strange path led by the explorer-ethnographer Marquis de Wavrin who, in the 1920s and 1930s, made ethnographic films in several countries of Latin America.

At a 2005 Carnival night, something mysterious happens at Porto Formoso bay, leaving the fishing boats wrecked. Fishermen decide to build bigger boats, but at the small village harbor it is impossible to deck them. They demand the construction of a new harbor, but many inhabitants are opposed due to a Castle ruins that lay there. If to some residents ruins look worthless, for others they are the village soul and future, as a lot of tourists would like to visit them...While the landscape transforms, we follow the Director voice through the story of the last seven years of this community.

A portrait of Santos Port, its geography, workers and the life that surrounds it, including the poor, prostitutes and the night life inhabitants.

Photo poetry of Bunchanawingʉmʉ Jesús Camilo Niño Izquierdo' piece of lost feelings in the Arhuaco Indigenous Reservation, northern Colombia.

In Brussels, Belgium, the Royal Museum of Central Africa is undertaking a radical renovation, both physical and ethical, to show with sincerity, crudeness and open-mindedness the reality of the atrocities perpetrated against the inhabitants of the Belgian colonies in Africa, still haunted and traumatized by the ghost of King Leopold II of Belgium, a racist and genocidal tyrant.

A sensory record of the relationships of affinity and enmity with fire in the conservation of the Cerrado biome. In the company of local residents hired to act as brigadiers and, more recently, as management agents, the short film explores the affections established with fire in the midst of combat pyrophobias and management pyrophilias. In addition to documenting fire fighting and manipulation techniques, the cinematographic experiment points to a more than human visual anthropology, where environmental forces such as heat, vegetation and wind make up an alterity whose condition remains ambiguous.

Living among the percebeiros of the Coast of Death (Galicia), this documentary shows a unique relationship between man and his surroundings, man and the sea. At the end of Europe, years after the Prestige oil spill disaster, these fishermen face an uncertain future.

With a dual motion a cruise ship and a fishing boat pass one another on the Nile and butlers in turbans set up a wooden gangway. Thanks to a rope and pulley system cows climb skywards then disappear into the hold of the sailing vessel. On the bank, black-haired women rock back and forth, bursting out laughing and showing the first signs of going into a state of trance. Never-before filmed gestures and faces of the people of the Nile succeed one another, uprooted to an unknown, magical world. The Banks of the Nile is one of the first experiments of film in colour that uses the Kinemacolor process.