Disoriented and unable to remember anything, Lucía wakes up at her grandmother Olvido’s house. Unable to find her, Lucía begins her search in a village full of ghosts threatened by the presence of a mysterious company.

Fractal Fluid is an immersive documentary that reveals how fractal patterns connect all living things and shape nature’s silent language. In Germany, a retired doctor independently investigates the crystallisation of water droplets. Through microscopic images, she discovers how tears or blood form beautiful fractal patterns that react to healing processes and may have memory or sensitivity. In the Peruvian Amazon, a shaman transforms her ritual visions and dialogues with plants into fractal looms, while her territory is threatened by deforestation driven by German Mennonite colonies. Both women, pierced by the pain of loss and the popular ignorance of their discoveries, are able to understand the languages of water, plants and animals.

La mala gent aims to be a generational film because it seeks to express the dilemma common to all generations: on the one hand, we want to do things better than our parents; on the other hand, we are doomed to repeat their mistakes in order to learn from them. We want to protest against gentrification while we ourselves are a gentrifying force; we want to put an end to speculation, but we also want to own our own flat.

Contemporary cinema is collaborative, as it was during the Occupation. The only possible position for creators is non-collaboration. Jean Eustache

Os salmos is an atmospheric drama about personal and political ghosts. It arises from the desire to record certain images and sounds: filming the neighbourhood of childhood, a concert by friends, the sea at night, work and daily life at the port. With a documentary impulse, the film starts from reality to the search for an atmosphere outside of time and space, turning everyday places into fiction to discover the mystery they hide, and moving away to a temporarily autonomous zone where the familiar becomes strange. All this with an air of utopia at the end of the world.

A Coruña. The economic crisis in 2012. Gloria (52) leads a monotonous life on Barcelona Street, a run-down boulevard where she lives and works. The sudden death of her brother, who migrated to Australia twenty years ago, brings his daughter, Ana (27), back home. In the process of mourning, Gloria begins to question her life, always anchored in the same place, and to project her own desires.

This is the story of my mother, Consuelo (70), a retired woman who went viral on social media after attending a massive illegal rave in her small village, La Peza, in Granada. Inspired by her example, other local women decided to join the adventure, defending the party against the alarmist rhetoric of the media. Their participation in the rave symbolises a small revolution that challenges the expectations imposed on older women in a rural society. Through the voice of my mother, the rave collective and the women of the village, a choral reflection on freedom, identity and the silent but relentless passing of the years is proposed. Will the ravers return to the village that welcomed them so warmly? Consuelo is clear: they do not intend to sit on the sofa watching life pass them by.

Tina (38) and Pol (27) live in the same city, A Coruña. However, they have not seen each other since the assault. Coordinated by the Restorative Justice system against LGBTQ+ hate crimes, they begin to prepare for a possible face-to-face meeting. In it, they will talk about what happened: Pol assaulted Tina in a transphobic attack. As both parties move forward in the process with Leo, their mediator, Tina’s relationship with her own partner, Ricardo (52), begins to falter. Despite their love, as the days go by, they begin to face their personal flaws and mutual misunderstanding.