How much does private life impact on art? Julen uses persons. The power and domination that a man exerts to make a film. Marian uses her friend June. Using friends to make a movie. Using people to make a movie. The money. Maybe a film has nothing to do with art or storytelling, maybe it's just another way of exercising power.

O Gemer is an experimental film that records and reconstructs the sound of the old oxcarts, a sound that only remains alive in Brazilian Goiania.

When VERA (Lola Dueñas) was young, she couldn’t take care of her newborn child. When CORA (Ana Torrent) was young, she was told that she could not have children and that the only way to start a family was to adopt a child. This is a film noir story about a crime. A meeting of these two women on the banks of the Duero River.

A cinematic journey through female characters and the representation of madness. How do you play a madwoman? Who says how do you play a madwoman?

Filming the scars of migrant people. Bodies leaping into the void, bodies swimming fully clothed in the sea, strange fruits, porcelains, still lifes. Scars as journeys. Legal identity documents. Does the image recognize us all? Do the stories recognize us all?

A European woman is an experimental film made with real and fictionalized archive. It tells the story of the 12-day stay in December 2001 of the archivist Olaia Nogales in the city of Buenos Aires, where she is sent by the Extxepare Institute to check the value for Euskadi of some films from the 1920s made by the Zubiaurre brothers, found by chance in the archive of an Argentine photographer.

It is the year 2001. Olaia works as a film conservator at the Basque Film Archive. With her partner in prison for his political militancy and a mother struggling with alcoholism, she has learned to relate to the world through distance and control. In early December, she travels to Buenos Aires to authenticate a set of films discovered in the archive of photographer Luis D’Amico. They may contain the earliest known footage featuring the Basque language, shot in Argentina in 1921 by the Zubiaurre brothers. But when she arrives, the country is on the verge of the economic and social collapse that will culminate in the events of December 19 and 20, 2001. While waiting for access to the archive, Olaia spends her days alone in the apartment where she is staying. There, she discovers a series of desperate answering-machine messages left by a woman searching for a man named Rafael. Fascinated by the story, she decides to find him. What begins as curiosity gradually turns into an obsession: Olaia starts a relationship with Rafael while hiding both the existence of the messages and the real reason she sought him out. As the crisis takes over the streets and reality becomes impossible to ignore, Olaia retreats into this love story and her work with the films. But when the woman behind the messages finally appears, the fiction she has built begins to collapse. Forced to face the consequences of her actions, Olaia understand the extent to which she has used love as a form of escape.

A twenty-year-old girl is kidnapped one night by a stranger. The next morning, she wakes up in a house in the middle of the woods where three other young women are being held captive. There, she discovers that they behave as if they were the kidnapper’s daughters and that, whether she likes it or not, her fate will be to become one of them.