In the town of San Antonio in Guerrero, Mexico, lives my mother, Amelia, a 60-year-old woman who leads a quiet life on her ranch, tending to the land and her husband. With the arrival of Holy Week, she is joined by my niece, Rosario, her granddaughter, whom she teaches about religious traditions. Their encounter quietly evokes questions about the role of women in my town. Despite the generational differences, they see themselves reflected in each other and share a deep desire to transform our destinies.

The Mejia family emigrated from Oaxaca to Fresno, California 40 years ago. Filmmaker Trisha ZIff filmed the family in 1996, and returns now to see the changes that have settled over them, and follows the family on their return to Mexico.

The artist Johanna Faust is about to leave her children to finally devote herself to her art again. A vague memory comes to her mind: Didn't her grandmother do the same thing, with terrible consequences? The intimate road movie tells of lost mothers and abandoned children, of the temptations and the price of self-fulfilment, of the abysses of motherhood and of the deep longing for another life.

The Road Forward is an electrifying musical documentary that connects a pivotal moment in Canada’s civil rights history—the beginnings of Indian Nationalism in the 1930s—with the powerful momentum of First Nations activism today.  Interviews and musical sequences describe how a tiny movement, the Native Brotherhood and Sisterhood, grew to become a successful voice for change across the country. Visually stunning, The Road Forward seamlessly connects past and present through superbly produced story-songs with soaring vocals, blues, rock, and traditional beats.

Song is a story of the last Finnish rune singer and his pupil, and the comforting power of singing.

Love and admiration in 16mm. The fusion a beauty that exists throughout three generations; my three Venus.

A documentary about the inner, unknown world of the brotherhoods, a universe of its own with its own laws, rules, and philosophy far removed from religion, which were (and in many ways still are) foreign to most people, especially the non-Andalusian majority in Spain. It is the only audiovisual document that captures the pivotal moment for the "people at the bottom" when professional bearers (dockworkers, day laborers, and various other wage earners) are being "pushed out" of the brotherhoods and replaced by fellow bearers. From an anthropological perspective, "Costaleros" projects peculiarities of Andalusian culture that are often misinterpreted and misunderstood from the outside.

Religious-based images and traditions permeate the lives of all the people who inhabit Seville.  Historically, the city's mariquitas ("sissies") have also assimilated them in their childhood and,  through them, have been creating their own encounter spaces and their own codes.  Nowadays, new dissident identities continue to respond to them: they participate or distance  themselves, they continue what exists or transform it. This film looks at these traditions from a  perspective always relegated to the margins.