We are now moving through a very bleak period in human history - where the convergence of postmodernist cynicism (eliminating humanistic and critical thinking from the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalisation, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where ethics, morality, human collectivity, and commitment (except to opportunism) are considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.

We are now moving through a very bleak period in human history - where the convergence of postmodernist cynicism (eliminating humanistic and critical thinking from the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalisation, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where ethics, morality, human collectivity, and commitment (except to opportunism) are considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.

Through images, testimonies, press articles, music, demonstrations and traditions, the community of La Vega, an established neighbourhood of the capital, narrates the story of its progress, expansion and consolidation. The foundations for their consistent and self-managed organisation can be found in a deep sense of belonging marked by the manifestations of its indigenous, black and revolutionary roots.

Intimists and emblematic portraits tell the current destiny of the peuls of West Africa. In Mali, one of the poorest states of the world, these people are confronted with the terrible question of his future. In a malian society in full transformation, can the traditions and the way of life of these seminomad shepherds continue to exist in front of the inevitable modernization of the country? Through a touching meeting with this traditional culture, the narrative shows the universal movement of transformation of rural mentalities.

This video captures the rhythm of its subjects, the daily life of a family in rural Mexico. A black and white film of extraordinary beauty, created with the most rudimentary tools. 6th Independent Vídeo & Interactive Phenomena Show

Lepers banished to a Greek island. A society that organises itself to resist rejection and abandonment. In 1904, the Greek government decided to confine lepers, considered dangerous to society, in the fortress of Spinalonga, a peninsula north of Crete. There, while they await death, they seek a living. Raimondakis, the son of a lawyer, is their spokesman. He does not accept being locked up in handcuffs when he has committed no crime. He does not want to be pitied, he just needs love. Pollet is commissioned by the pharmaceutical company Sandoz to talk about the last days of leprosy in Europe, which he transforms into a profound reflection on the differences between the disease and the supposed normality. The camera travels through the abandoned spaces of the Greek island of Spinalonga, officially called Kalydon, a leper colony from 1904 to 1956, the year in which an effective treatment put an end to compulsory confinement and the sick began to be transferred to hospitals in Athens.