1998, Tangier. Conversations in the bar La Poste with Tangerian writer Mohammed Chukri and New York poet Ira Cohen, stories of death, separation and loss under the mantle of friendship.

Journeys and dreams in the mountains of Mexico's south east, the jungle and the city... Rituals, emotions and words for everyone!

This is the memory of a journey from the heart of an inhabited wilderness . People overwhelmed by the color of the clouds, holes in the sky to another site. An inappropriate vehicle for the place rolling toward the direction of the emotions unleashed: the experience minutes before the cyclone.

Maya is “all that is and all that is not"...the complete illusion in imagination.” And with total, absolute, 100% watchfulness, it is possible to see Maya for what it truly is. With this awareness, with this attention onto the experiencer – without reliance on any practice, any method, or to any past or future achievements, you will discover in this split-second, who you really are. The secret of true happiness is revealed in this knowledge. “To cross this ocean of suffering called samsara you must have a raft; Satsang is this raft. Once you are on this raft, you need do nothing and nothing can bother you.” The secret of Satsang is revealed in this split-second. All desires are fulfilled – not abandoned – but fulfilled. Nothing more is desired. You have it all.

The experiences of a young Arab American, Christian woman travelling on her own in the occupied territories of the West Bank and Gaza Strip during the summer of 2002. The film is a reflection on the complexity of Palestinian existence and the disturbing "ordinariness" of living under constant curfew. Forbidden to Wander is also the journey of personal discovery for the filmmaker, the wanderer who falls in love with a Palestinian man in Gaza.

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.