This film follows the events triggered by a young man's killing of a leopard with a self-made trap in Kara, Southern Ethiopia. Anthropologist Felix Girke and film-maker Steffen Köhn follow the protagonists as a social drama slowly emerges: during the feast which celebrates the hunter's achievement, a challenge as to the ownership of the precious hide is issued. The events of the film reveal how ritual rules are strategically manipulated and contested for not entirely evident reasons.

Sri Nisargadatta Maharaj lived most of his life in a poor section of Mumbai, until he left his body on September 8, 1981. Nisargadatta Maharaj was a teacher extraordinary, absorbed in the Absolute, his teaching have touched the world and spiritual seekers for decades. Maharaj, as his disciples called him, had many devotees, however one of his closest was Jozef Nauwelaerts of Belgium. Before his passing Jozef and Christiana Braes left to the world a film, which takes the viewer on a journey through Mumbai and the area of Maharaj's house, along with a 35 minute question and answer session.

Two promotional anticrisis spots by Mexican TV channel Televisa.

“The opening of a Muslim oratory in a building in Santa Coloma de Gramenet (Barcelona), for the celebration of Ramadan in October 2004 sparked a confrontation with dye intolerance among the residents of the city and the City. No Mosque! is a documentary of dialog and reflection that analyzes causes and consequences of this conflict on the basis of testimony of all of its protagonists.” We see the escalating pressure from one section of the neighborhood, the solidarity of others (the Ateneu Popular), the pathetic response of the City Council and the Muslim community's banishment to a prayer room made from shipping containers among wire fences in an Industrial Zone... A fractal that is being repeated exponentially throughout the country.

Mapas Migrantes looks at migration in Barcelona from the period following the Civil War up until the present, through the city's buildings, infrastructures and street furniture. It is a kind of atlas, a series of maps that take shape through the voices of migrants, whose tales of the past invite us to re-read the city. Charting the invisible, we enter a territory in which individual subjectivities erase the boundaries laid down by the dominant discourse.

Twenty videos filmed secretly in several prisons in Quito, Ecuador, over a three year period. Far from simply idealising participative mechanisms, the method used in this audiovisual project ensures that the inmates' point of view remains. Whether this point of view is mediated by learning techniques on graphics, or the inmates pose before the camera like actors, they are always fully aware of the work to be done and, at the same time, of the motivations behind this project. The clandestine nature of the camera and the non-hierarchical production process created emotional bonds that, in one case, went beyond the prison and were reproduced on the outside, affecting relatives and friends.

Islam stands for change. It seeks to change the individual and society, into a community: the “ummah”, an Arabic word that comes from the root "um", or "mother". This change covers every aspect of human life from personal morality ho business, economics and politics. It is only natural that Islam should be fought by those who want to keep the status quo. “On the pilgrimage (to Mecca), I had close contact with Muslims whose skin would be classified as white, but these particular Muslims didn't call themselves white. They looked upon themselves as human beings, as part of the human family and therefore they looked upon all other segments of the human family as part of that same family. So, I said that if Islam had done this, perhaps if the white men in America would study Islam, perhaps it could do the same for them”.

Maa Tere Manalen is the result of Tere Recaren's two trips to Mali. It all began the day the artist discovers that in Mali, her name means something like “destiny.” So Recarens sets off to Africa to explore all the possible meanings of her name for the Bamanan, the country's most numerous ethnic group. Maa Tere Manalen (someone with a lighted Tere) took shape during her second visit. After her trip to Estonia, where she had discovered that “Tere” meant “good day,” she embarks on a similar exploration avoiding the classic tourist trip. Faithful to her habits, she promotes other kinds of exchanges and experiences; so in Mali she works in a textile factory where she designs and produces her own fabric with prints of drawings and phrases related to her name. Once this was done, she cuts it up and swaps it for photos of everybody who has helped her in some way, filming the whole process. The work draws attention to the gift itself, and the artist's constant availability. Recarens “builds” a room, which functions as a space in which to exhibit her work: she fills it with fabric that she finds or swaps things for, with motifs that refer to public or private moments, ideal for talking about different kinds of families. A space that is halfway between aesthetic and functional, where Recarens displays her own images.

Léxico Familiar transforms the all-encompassing intent behind the idea of a “dictionary” into a more modest attempt to compile a few elements of the “family lexicon” that constitutes the language of the new movements. As per Heinrich von Kleist's idea of gradual production of thoughts whilst speaking, this vocabulary is revealed through the course of the conversation, framing and editing, which literally seek to show how thought is embodied. Just as political concepts that lead to dynamics of change (which can be appropriated by other subjects, and which circulate so as to be verified through different practices) don't arise through isolated gestures or thought ex nihilo, but from actual experiences and specific bodies and struggles.