Elisa Celda

Josephine Nilsson dies trying to terminate her second pregnancy after giving up for adoption her first child, Carl T. Dreyer. A gender and class story about the clandestinity of female desire.

Based on the negatives of the 33 'La Tauromaquia' engravings made by Goya in 1816, the director invites us to witness the transformation of bodies at the approach of death.

The film portrays a night shift of the last fishing community that uses the Art of Xávega, a traditional type of fishing that has barely evolved over the centuries, disappeared on the Spanish coast and in process of extinction in Portugal. At the same time, under the huge cliff and a few meters from the sea, other bodies roam the terrain in search of occasional sexual encounters.

A festival of digestion on many scales, from planetary to microbial.

A group of young people dance tirelessly in the dark with the aim of achieving absolute happiness through the vibration of their bodies in harmony with the Earth. The viewer witnesses an ancient battle between darkness and light. In this unusual proposal, the filmmaker Elisa Celda turns the movement, breathing and faces of her characters into fragile and mysterious cinematographic material.

Three young friends of Moroccan origin travel on a lost island, sing, dance, and take us into the shelter of an uninhabited lighthouse. They discover this unknown land like the explorers in a tale of adventures. Following them around in this strange place, Julieta Juncadella carries us away, like a wave, in the movement of a fantasy film. – Elena López Riera

The film trilogy "Tetuan, Tetuán, Tetwan" deals with the traces that the colonial past in Morocco has left in Spanish society through an experimental collaborative methodology. It examines cultural production, public space and the collective imaginary through the prism of the ghost, understood as an echo of silenced voices and historical facts. Developed with Moroccan and Spanish cultural agents, the project explores narrative strategies to resignify places such as the Plaça Tetuan in Barcelona, the neighborhood of Tetuán de las Victorias in Madrid or the cinema “Español” in the proper city of Tetwan, Morroco.

A group of documentary filmmakers retrace the steps of 19th century serial killer Manuel Blanco Romasanta, who blamed his crimes on lycanthropy.

Two enigmatic characters walk through a numb landscape, flat and timeless.