Oliver Laxe

A three-projection installation introduces a world of desert landscapes subjected to the relentless rhythm of the sun, populated by the stark silhouettes of temples and loudspeakers, among which human figures dance.

A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who disappeared months ago at another rave. Driven by fate, they decide to follow a group of ravers in search of one last party, in hopes Marina will be there.

Oliver Laxe brings us closer to his immediate world: To Vilela, where he tries to raise his vital project while reflecting on spirituality, the simple and the symbolic, on the soil on which our future is rooted. The return to the primary sector is a metaphor for how to take care of the landscape and let us take care of it.

When Amador Coro gets out of prison for having provoked a fire, nobody is waiting for him. He returns to his home town, a small village hidden in the mountains of rural Galicia, to live with his elder mother, Benedicta, and three cows. Life goes on calmly, following the rhythm of the nature. Until the night when a fire devastates the region.

A dying Sheikh travels across the Moroccan Atlas in a caravan escorted by two rogues.

A European director is making a film with children from a social center in Tangiers. Because of his methods, his relationship with the children during shooting degenerates and transforms the evolution of the project.

A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.