In Italian Somalia in 1934, a powerful colonist is running a vast estate with many indigenous workers, helped by a young, energetic and well-liked overseer. Then the colonist's beautiful, innocent daughter who had remained in her home country arrives, eager to experience the romance of Africa, full of exotic animals and human beings with strange, delightfully primitive customs. The young people fall in love, but the landowner vehemently rejects what he sees as an inappropriate match. The young overseer leaves and finds consolation in the arms of a beautiful native woman, but the tribe and her husband strongly and tragically oppose this.

I drift for several hours in the streets of Santiago in Chile, camera in the hand. In a district close to the Palace of Moneda, a man stands rigidly in the middle of the footpath. His body has become numb from years of solitude and suffering. Only the occasional glance from frightened passers-by connects him to society.

Logorama explores the extent to which logos are embedded in our daily existence. In the words of members of H5, "Logorama presents us with an over-marketed world built only from logos and real trademarks that are destroyed by a series of natural disasters (including an earthquake and a tidal wave of oil). Logotypes are used to describe an alarming universe (similar to the one that we are living in) with all the graphic signs that accompany us in our everyday lives. This over-organized universe is violently transformed when the cataclysm becomes fantastic and absurd. It shows the victory of the creative against the rational, where nature and human fantasy triumph.”

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.

The wolves, "Those savage animals from children's stories, aren't dead (that too was a lie). No one will guide you on this journey (that too was a lie)." Francisco Ruiz de Infante, 1995.

"I am not reassured by my night walks, nor the still memory". 3 Mostra de Vídeo Independent de Barcelona 1996.