A film of many voices, Polifonias – Paci è Saluta, Michel Giacometti (in English, “Polyphonies – Peace and Health, Michel Giacometti”) pays homage to ethnomusicologist Michel Giacometti, tracing encounters between the popular cultures of Alentejo and Corsica, past and present. Through songs, memories, and rituals, the film bears witness to exchanges and shared experiences where no one loses their identity or roots — rather, these are renewed and enlivened through contact with others. A poetic and polyphonic reflection on tradition, community, and the living memory of song.

The Struggle of the People – Literacy in Santa Catarina reveals how literacy and social engagement among rural communities were essential conditions for achieving the long-awaited social changes and for raising these communities’ awareness of new forms of organisation and political and social consciousness. In 1976, a high percentage of the Portuguese population was still illiterate, with the highest rates of illiteracy concentrated in rural areas.

An example of post-revolutionary cinema, the documentary A Lei da Terra follows the Agrarian Reform process in Alentejo during PREC, and the occupation of lands by farmers. Rural workers came together in cooperatives and collective units of production, seeking to establish a new revolutionary law: “The land belongs to those who work it.” This film was made by Grupo Zero and credited to its members without differentiated roles. Nevertheless, Alberto Seixas Santos has been recognised as its director.

Filmed on their own land, This Land Is Our Land! (Nũhũ yãg mũ yõg hãm: Essa Terra É Nossa!) is a unique and multilayered visual cartography made by Brazilian Indigenous filmmakers Isael and Sueli Maxakali … combining mourning practices, rituals, and chanting, with interviews and observational material to create a study of white violence … the filmmakers chart a hypnotic journey that acts as a manifesto against all kinds of borders …”

The Neighbour before the House (الجار قبل الدار / Al Jaar Qabla al Daar) is a series of video probes into the landscape of East Jerusalem. Shot with a CCTV security camera, these images show that before and after instrumental ‘surveillance,’ there is inquisitiveness, jest, memory, desire and doubt that pervades the project of watching. A voice finds an image, an image is probed beneath     its surface, thoughts withdraw or rebound. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature of their distance from others.

The film attempts to tell the story of the formation of a cooperative in Barcouço, near Coimbra, summarizing the fundamental stages of the Agrarian Reform, thus giving an account of significant aspects of the issues raised by land ownership in Portugal.

In 1968, the members of newly formed Ogawa Pro followed a brigade of student activists and joined the growing movement of resistance by the farmers and their allies against the forced eviction from their lands to build a new international airport in Narita, near Tokyo. Summer in Sanrizuka is a call-to-arms, a raucous film shot during the first land surveys and the first clashes between the airport authorities and the protesters. The film shows how the students and the farmers were able to forge an alliance and find common ground in order to organise and strengthen their cooperative struggle. Directed by Shinsuke Ogawa.

The sixth film in Ogawa Productions’ Sanrizuka Series, Heta Village (三里塚・辺田部落 / Sanrizuka: Heta Buraku) marks a turning point in the collective’s filmmaking. Having lived among the farmers resisting the construction of Narita Airport, Ogawa turns his attention from the protests to the life of the village itself. Filmed in eleven long, unhurried scenes, the work captures the rhythms of rural existence—its customs, seasons, and quiet endurance—amid the lingering trauma of conflict and loss. The film’s patient gaze reveals a profound empathy for the villagers and their connection to the land. A masterpiece of observational cinema, Sanrizuka: Heta Village is both a study of time and a meditation on resilience.

Filmmaking and the Way to the Village (映画作りと村への道 / Eiga-zukuri to Mura e no Michi) offers an insider’s view into the inner workings of Ogawa Productions at a pivotal moment. Made by Fukuda Katsuhiko while Sanrizuka: Heta Village was in its final stages, the film reveals the group’s discussions on aesthetics, their relationship with villagers, the logic of collective decision-making, and the tensions of authorship in a communal project.

In Virgen Barbie, María Galindo and Mujeres Creando construct a short, provocative meditation on gender, identity and representation. Over 15 minutes, the film interrogates the mythologies of purity and femininity by reimagining the figure of Barbie as both saint and icon. The piece weaves poetic visuals and symbolic gestures to challenge conventional expectations about the female body and spiritual devotion.

Though brief, Virgen Barbie uses its compressed duration to make a bold political statement: by conflating the sacred and the profane, it questions who is allowed to inhabit the role of “virgin,” and who is excluded.

Revolución Puta is a 52-minute documentary and performance film by the Bolivian anarcha-feminist collective Mujeres Creando, made together with members of the Organizations of Women in Situations of Prostitution (OMESPRO La Paz and Santa Cruz). Conceived and self-managed by the sex workers themselves, the film gives voice to those who speak in the first person — without intermediaries, without apology, without shame. Structured in four parts — The Whore’s Knowledge, The Whore and Work, The Whore and the State, and Testament — the film refuses the victimising gaze and reclaims the figure of the “puta” as a central subject of social transformation. Through performance, poetry, testimony, and political gesture, Revolución Puta becomes a collective manifesto of rebellion and self-representation: a call to revolution made from the margins, and by those who inhabit them with pride.

“Starting in November 2023, our group came together in response to the ongoing slaughter in Gaza — more than fifty people, each making a short video on their own, wherever they happened to be located, but in the name of the group. We called it ‘videotracts for Palestine.’ It’s an old gesture, inspired by the famous ‘ciné tracts.’ ‘Video’ because we show and share them, mainly on Instagram. A gesture — quick, made in a state of emergency.”

From Gulf to Gulf to Gulf is the result of a four-year collaboration between the artist collective CAMP and sailors from the Gulf of Kutch, Pakistan, and Iran. Using a mix of high-definition footage and mobile phone videos recorded by the sailors themselves, the film traces the voyages of a single ship and the daily lives, rituals, and exchanges aboard it.Over sea routes crossing the Persian and Arabian Gulfs, the film connects distant ports and lives through sound, song, and image. It challenges conventional authorship by privileging the sailors’ own visual voices and frames global trade as lived, intimate experience rather than abstraction. The result is a meditative, musical journey that foregrounds what is shared across borders rather than what divides them.

After a few months at Aldeia Verde, the yãmiyhex (women-spirit) get ready to leave. Directors Sueli and Isael Maxakali record the preparations and the colorful farewell party with great intimacy. A kaleidoscope of performances and cultural codes that might elude understanding, Yãmiyhex: The Women-Spirit skips explanations and uses its opacity as an invitation to a dip into the pictured rituals. When the shaman says the chant should not be translated or when the yãmiyhex almost crash into the camera while running with their mothers, the boundaries become evident, yet this does not prevent the vivacity of the ongoing celebration from being generously shared with us.

Yõg Ãtak: My Father, Kaiowá follows Sueli Maxakali and Maísa Maxakali as they embark on a journey to reunite with their father, Luiz Kaiowá, from whom they were separated during Brazil’s military dictatorship. Through encounters, rituals, and memories, the film traces a path of return and healing while confronting the historical violence that fractured Indigenous families and lands. Rooted in the collaborative practice of Pajé Filmes, the work weaves together personal history and collective resistance, evoking the strength of the Maxakali and Kaiowá peoples in reclaiming their voices, their stories, and their territory.

The culmination of more than a decade of work by Ogawa Productions, The Sundial Carved with a Thousand Years of Notches – The Magino Village Story (千年刻みの日時計 — 真木野村物語 Sennen kizami no hidokei – Magino-mura monogatari) is both an epic documentary and a meditation on time, memory, and community. After settling in the small hamlet of Magino, the collective lived and worked alongside the villagers, cultivating rice and recording their histories.

Through long, patient takes and a poetic blending of documentary, myth, and reenactment, the film reflects on the deep ties between people and land, the rhythms of rural life, and the endurance of collective memory. At once intimate and cosmic, The Magino Village Story stands as Ogawa’s final and most ambitious work—a monumental reflection on the passing of time and the thousand invisible notches it leaves behind.