In their native Basque Country, architect Oihane Ruiz and landscape designer Ane Barrutia explore the wood cycle, from forest to industry. In doing so, they seek answers to the question: what kind of forest will we leave to future generations? Who is defining tomorrow's forests today? ''Behind the Basque Green" offers a collective portrait of the current state of Basque forests, which are characterised by the decline of radiata pine, the spread of eucalyptus and the depletion of the land. In the face of a crisis-stricken model, leading figures in the timber industry reflect on roots, memory and the necessity of imagining alternative ways of inhabiting the landscape. The film is an immersive experience with original music by Maite Ruiz de Erentxun, created from the environment.

Someone carefully rolls up a carpet inside a destroyed hotel room. On the wall, a huge hole overlooks a city in ruins. It is Baghdad, in 2003. A few weeks earlier, two thousand journalists had traveled to Iraq to cover the war that had sparked the most widespread social opposition since Vietnam, a war declared illegal by the UN and which had led to massive demonstrations around the world calling for “No to War.” Among those correspondents are reporter Jon Sistiaga and cameraman José Couso. Their friendship becomes their only real refuge from fear, censorship, and bombs. They evade the surveillance of Saddam's regime, dodge threats, and fight to tell the Spanish media the truth about the conflict through reports that break audience records. When the US invasion begins, Jon and José are among the few journalists who do not leave the country and barricade themselves in the Palestine Hotel. From their room, they narrate the fall of Baghdad with a privileged view that also makes them an unexpected target. What seemed like a peaceful invasion due to the lack of Iraqi resistance turns into tragedy when one of the American tanks aims its cannon at the hotel and fires a shell directly at the balcony where José is filming. The impact leaves a huge hole in the wall of the room, in which only a carpet, bought by Jon and José together in a Baghdad market, can be saved.

LA ÚLTIMA LLAMADA

‘La última llamada’ offers a first-person portrait of the human side of power, revealing the ethical and emotional dilemmas, as well as the loneliness, that accompany those who have occupied the most powerful office in the country. Through intimate conversations, personal archives, and exclusive testimonies from family members and close advisors, this original Movistar Plus+ documentary series showcases the most revealing experiences of Felipe González, José María Aznar, José Luis Rodríguez Zapatero, and Mariano Rajoy —from their arrival at La Moncloa to the most critical moments of their time in office. What does it feel like to receive the call that can change everything? How do you live with the decisions that affect an entire nation?

GAUA

The Basque mountains, in 17th century Spain. At a time when witch-hunts by the Spanish Inquisition are rife, Kattalin leaves her farmhouse in the middle of the night, fleeing from her violent husband. Lost in the deep, dark forest, she feels a sinister presence pursuing her. On her way, she comes across three, affable and mysterious women, who are telling scary stories and recounting the village hearsay as they wash their clothes. These stories include characters from Basque mythology, such as “Gaueko” (the god of the night), “Inguma” (the strangler spirit) and “Mateo Txistu” (the cursed priest). To Kattalin’s astonishment, she, herself, will end up forming part of these women’s stories.

Tragedium

A debt remains unresolved and three thugs are set to take charge, but what is about to happen is not going to go as planned at all.

MOLD

After a terrible day, Arnau discovers a patch of mould in the bathroom. Obsessed with removing it, he channels his anxiety into it, spiralling into paranoia. Unable to distinguish reality, he ends up sacrificing Cristina.

THE TRUCE

Reyes and Salgado, two young men who fought on opposing sides in Spain, must now share suffering and hope in a Soviet gulag during the Second World War. Living together will force them to join forces and face the cold, hunger and horror that lurks behind the barbed wire. They will have to strip away their ideologies to discover the person hidden beneath each uniform.

The shadow of the ombú

Born in 1857 into a humble family of bertsolaris in Zizurkil (Gipuzkoa, Spain), Pello Mari Otaño has left an important legacy, both in the world of “bertsolarismo” and in popular poetry. His life was marked by emigration to the diaspora, melancholy, and a constant search for identity. At the end of the 19th century, fleeing the conflicts and instability that ravaged the Basque Country, he decided to emigrate to Argentina, a common destination for many Basques seeking a new beginning. He herded cattle with the gauchos, worked at many trades, and read popular poets such as Rufo Tolosa and José Hernández. In Buenos Aires, he began teaching Basque language at the Laurak Bat Basque Center and wrote the libretto for a couple of operas. Otaño felt Argentinean in Europe and Basque in the Pampas. Melancholic under the shade of the ombú, a tree of the pampas, Otaño found inspiration by transforming this tree into a symbol of the emigrant's nostalgia, alleviating the longing of generations of Basque emigrants.

SUNDAYS

‘Sundays’ tells the story of Ainara (Blanca Soroa), an idealistic and brilliant 17-year-old who has to decide which university degree she will study. Or, at least, that is what her family expects her to do. However, the young woman says that she feels closer and closer to God and that she is thinking of becoming a cloistered nun. The news comes as a surprise to the whole family, causing an abyss and a trial by fire for everyone.

QUEEN OF COAL

Inspired by true events, “MISS CARBÓN” is a story of resilience about passion and dreams that know no gender. Carlita became the first woman miner in a town where women were forbidden from entering the main source of the region’s livelihood: the coal mine. A superstition held that women were a threat of collapse, and mining work was reserved for men. Carlita, as a trans woman, managed to enter the mine, breaking the system from within and sparking the flame of a revolution.