Lo Que Nos Queda

A short experimental tone-poem documentary that explores three stages of the gentrification of Seattle.

Ricardo is an actor, driver, teacher, painter and a dancer at Sensible Soccers' shows. One day he forgets his signature dance move. Will he ever get it back? A film between documentary and fiction that immortalises a dance move present in the collective imaginary.

A rare "inside" view of a motorcycle club in Toronto, one of the network of such fraternal groups in the large centers across North America. The names they adopt (Satan's Choice is only one) are as individual as their special ethics and views of life, all freely expressed in this film.

Two ten year-old boys are detained by police under suspicion of abducting and murdering a toddler.

A memory of Marilyn Monroe (1926-1962), woman, actress, goddess, myth, in the words of the Spanish director and scriptwriter José Luis Garci, who returns to his childhood and recovers a lost paradise.

Tamara is from the ocean and water runs in her veins. Born in a fishing village on the Mexican coast, she became a full-time scuba instructor. When she discovers plastic in her beloved ocean, she sets out to get the diving industry to stop using single-use plastic.

Annedore takes care of orphan birds. They give her that which humans througout her turbulent life could never give her: love.

Nikki is no professional athlete. Still, she swims the English channel to raise money for a good cause.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

One of the greatest Hamlets of the 20th century Sir John Gielgud reflects on the play and its title character with which he used to be intimately associated for ever since 1929.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.