Karoline Pelikan

Nachi, a native elderly curandero observes the beautiful nature of his beloved Andean highlands. His final destination? Marcahuasi, a mystical stone forest at 4000m altitude. In his backpack the healer carries the San Pedro, a cactus so respected in the region for its hallucinogenic effect. He believes that the Huachuma, as the plant is called in Quechua, can connect our past, present and future. Karoline, a young filmmaker, follows him with her camera. Full of doubts and questions, she wants to use the Huachuma to communicate with her deceased parents. Will she be able to see them one more time? Two stories entwined in an intimate journey through grief and the tender struggle of letting go.

During lockdown the UK has seen a significant increase in the number of domestic abuse related calls to helplines, with some charities reporting over 200% increase at a time when there was over 70% reduction in service delivery as a result of the pandemic. How did the domestic abuse services sector cope with the pandemic? What were the experiences of the frontline workers of the domestic abuse sector? With a range of interviews recorded on Zoom during and at the end the lockdown period, this film offers for the first time, first-hand accounts of keyworkers and key players of the domestic abuse services from their own voices and images. The interviews offer exclusive stories of keyworkers reflecting on their experiences of vicarious trauma, how they worked selflessly while dealing with the implications of the pandemic themselves.

Fluctuating between Super 8 family archive footage and scenes from the present, Trascámara is a tribute to an identity between two lands, and to cinema and its power to create and recreate memories.

“If I can no longer fight, will you?” Filmed and co-directed by Soraida, this intimate portrait spans the everyday life and activism of Soraida Chindoy, following her journey as an Inga leader defending her community’s sacred mountains from a Canadian mining company in Colombia. Balancing motherhood with community organizing, Soraida's daily life as an Inga woman and land defender is shaped by resilience, responsibility, and an unwavering commitment to her people and territory. As environmental threats intensify, her demands become more urgent — and her disappointment with the international community more profound. ‘Kaugsankamalla: As long as we live’ offers a deeply personal and politically resonant portrait of Indigenous resistance in the face of ecological and cultural loss. Through Soraida’s voice, her images, and her embodied wisdom, we are offered a window into the lived experience of fighting for a future — not just for one community, but for the planet we all share.

A contemplative gaze toward the town of Contumazá, in the northern highlands of Peru. Beginning with a murder that occurred a century ago involving the director’s great grandfather, the film reflects on the passage of time through the daily routine of her mother, conversations about an event that is almost forgotten, and the faces of the townspeople. The landscapes and traditions of the town gradually reveal the beauty, solitude, and poetry of its inhabitants.