Kodjo Ames

What is the role of an ethnographic filmmaker as an outsider and student of a culture? Is it about representing, demonstrating, and reflecting or exposing, participating, and transposing? Although these are not binary terms of the historic discussions in anthropology, they share a lot to be experimented through shared cine-anthropology and sensory multimodal ethnography.

A Berlin street corner is slowly changing: an aging supermarket turns into a construction site and finally a new building. People restock shelves, demolish walls, take breaks and count money. Those who work here participate in the making and unmaking of the place. How does it shape the conditions of their labor? Between supermarket aisles, construction scaffolding and exposed concrete, different versions begin to overlap. Repetitions appear like echoes between worlds, both playful and eerie.

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

In this innovative blend of documentary and fiction, Rosa and Paloma, two trans Latina sex workers in Queens, New York, fight transphobic violence, persecution from the police, and defend their cases of trafficking in an increasingly anti-migration political environment in the U.S.

Filmmaker Binevsa Bêrîvan travels to Armenia to capture the daily life, customs, and history of the country's Yazidi Kurdish community.

Documentary directed by Pío Caro Baroja, divided into eight distinct parts: Man, Stone, Meadows, Trees, Rural Environment, Iron, Sea, and Villages. This eminently ethnographic work is a compendium of the customs and traditions of a people with an ancient history, which today remains a witness to many images that will never again be part of everyday life.

A documentary on the experiences of the Nubetya Yaptiks nomadic family in the Yamal Peninsula, Eastern Siberia, from 1992 to 2001.

Rites and operation of the circumcision of thirty Songhai children on the Niger. Material of this film has been used to make "Les Fils de l'Eau".

The slave ships during the XVII and XVIII century transported millions of colored people from Africa to America carried within it the seed of a religious cult that would help the slaves in the Confederacy for their freedom. This is the story of the formation of African roots syncretic cults that worship spirits of two faces: black continent mystical entities hidden behind Catholic imagery.