“Do not be sad, my son, you are destined to fall in love.” An intervention-reading of a concert by Egyptian musician Abdelhalim el Hafiz, performing The Fortune Teller by the poet Nizar Qabbani. "My son you are 10 years old, I look at the life you have ahead of you and today it gives me vertigo. But it is not fair, perhaps because I am seeing it from my decline, I no longer have the drive that is becoming strong in you now, that is growing every day; this whirlwind of dust, but also of beauty that will take your life, like ours, like a leaf in the wind. Perhaps it was you and Yasmin who recently crossed the dense city sky... I remember as if it were yesterday in the wastelands, you picked up a translucent stone that shone in the sun when you showed it to me and now I know that you are that star you were holding in your hands".

CRA'P - pràctiques de creació i recerca artística

25 March from 19:30h to 21:30h

• “Les Dormants“ by Pierre-Yves Vanderweerd , 65’ (Belgium) (2009). VO. French. Subtitles in Spanish.

The four stories in this film transports us from Belgium to the banks of the Senegal River, from the French Ardennes to the mountains of the Western Sahara.

What they have in common is that they lead us to meet the sleepers. Men and women moving between two worlds, that of the absent and that of the living, between two states, that of awake and that of sleep.

In each of these stories lies a mystery free from all belief, all philosophy, all attempts at explanation. A mystery capable of re-enchanting the reality.

• “La vida en armonia” by Toni Serra *) Abu Ali, 15’ (Morocco) (2018). VO. Arabic. Subtitles in Spanish.

A conversation with a woman who washes and massages the women who go to the hammam (public baths), helps bring the neighbourhood children into the world, and to wash the dead.

Limited places, early booking: info@cra-p.org / 666 763 504

CRA'P - pràctiques de creació i recerca artística ( creation practices and artistic research )

Anselm Clavé 67, 3r - 08100 Mollet del Vallès

The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall. Cut the Parrot is three grotesque comedies in one: the stories of Gerry, Susan, and Albert. Songs of hope and heartbreak spill from the mouths of the performers. The order of impersonation rules.

A military helicopter circles in the sky like an evil wasp. Chaos on the ground after the attack. A fast-paced sequence - bleeding people, burning cars and confused soldiers. Subheading: From Beirut - with Love. A cinematic postcard-greeting, so bitter and cynical, it can only come from a city at war with itself. The only dialogue in the film reveals a surprising connotation: Beirut is Paris, or Madrid, or any other metropolis. The scene is set: youth without a future, bomb attacks, drugs, arms, soldiers. The postcard has arrived.

Boujad is a personal and anguishing look at issues of separaton, independence and return. As director Hakim Belabbes chronicles his journey from his home in Chicago to visit his family in his hometown of Boujad in Morocco, his exploration of family relationships is self-conscious and at times painfully honest. We witness his most private moments with his family. Belabbes' film intimately explores the domestic spaces and religious rituals of intra-family relationships, especially when compounded by one member's break with traditional values.

A film about a community that lives in a cemetery in Manila. Rural poverty combined with a terribly overcrowded capital explain why many thousands of families have taken to squatting in the city's cemeteries. Overcrowding has forced the community to build their tarpaulin and bamboo houses among the tombs and also out into the sea. The residents have not only made the cemetery their home but in many cases their place of work. This film reveals their problems, jobs, sense of community and hopes for the future.