An extraordinary ethnographic document of the modifications made by the residents of the Trobriand Islands, in Papua New Guinea, to the traditional British game of cricket. In response to colonialism the islanders have changed the game into an outlet for mock warfare, community interchange, tribal rivalry, sexual innuendo and a lot of riotous fun. Intercut sequences explaining traditional cricket indicate how much the game has been altered; historical footage and commentary review the history of British colonialism in the area. This is not a glimpse of a disappearing culture, but a piece of propaganda by indigenous Trobrianders in favour of their national game which, with good reason, they consider to be far superior to the English "rubbish" from which it was derived.

An Archives research and edit on several audiovisual documents from various sources dealing with the old Spanish colony of Equatorial Guinea, most of it created for information and educational purposes. Images that illustrate the colonial obsessions of the times: the idyllic image of Spain's civilizing task, nostalgia for imperial times, the sadistic element in the hunt for wild animals, the work of Christianisation, the militarization of a layer of the population in order to ensure the existence of “loyal natives”, the perpetuation of the African stereotype...    

Recounts Rwanda's history from the 1885 partitioning of Africa which made it a German colony, to Belgian conquest during WWI, the creation of a republic in 1961, and the ultimately catastrophic regime of Habyarimana.

terra (in)cognita focuses on fragments of histories, of pre-contact, contact, and settlement of the Kelowna area though the accounts of several nSyilxcen (Okanagan) speakers. It traces connections and correlations between the periods of extermination/disintegration, assimilation, and marginalization to their present day and context of being First Nations.

This video is part of the project El Paraíso es de los extraños and proposes a non-linear journey, rehearsing a type of polycentric, rhizomatic narrative, with the intention of proposing a critical and ironic reading of the topics of orientalist exoticism fiction, through of the apparently chaotic scheme of the arabesque, a decorative formula that is not alien to the spider web or the labyrinth. Not the invisible, transparent, open-air labyrinth that pride and ignorance build.

Thousands of people visit London every summer. They fill the streets with shopping bags and cameras and enjoy all the possibilities of the capital. But amongst the crowd another type of visitor exists. Kwaku is a Ghanaian living in London. There, he finds himself dealing with loneliness and boredom. He is living on standby, dreaming of a full time job and also of a friend to count on.

Between 1877 and 1930, governments and private entrepreneurs organized in several European and American cities real Human Zoos, in which men and women of other races and cultures were exhibited in cardboard sets, separated by moats and fences, suffering a humiliating climate and conditions. They are the possessions of the Empire. The success is enormous, the public crowds to see face to face the "other" turned into an object.