Alina Film

Michael, a young medium, falls in love with Alice, who is shaken by the recent death of her life companion. The two are forced to confront their "ghosts" in order to get their lives back on track.

Ana, her mother and grandmother live in a small town in southeastern Spain where all three are regarded with suspicion.

Melilla, a Spanish enclave in Morocco, is a land border between the African continent and Europe. In transit through the city, Malik and his friends, miners of Moroccan origin, try to reach Europe by any means necessary. Day after night, they are up to no good, running the city in all directions, turning it upside down like a glove, like seismographs revealing the most burning present like the movements of the most distant past, taking all the risks to cross the barriers, to cross the waters of the port, climbing on the boats… Stay there, as if dead before being born? Rather "burn the sea" than die before having lived.

After receiving the diagnosis of an incurable brain tumor, Claudia decides to undertake her last trip to Switzerland. There she can decide how and when to end her life thanks to the help of an assisted suicide association.

On a remote volcanic island that everybody wants to leave, little Nana learns to stay. Her mother, Nia, went into exile right after she was born and Nana grows up in the family of her father. One day, the family learns that Nia is ill. Nana begins to develop high fevers and is sent to the foot of a volcano for treatment. There she encounters a world steeped in magical realism, between dreams and reality. Later, when Nana is a teenager, her mother Nia finally returns to the island.

Mature women talk about their wedding, their first time, their intimate relationship with sex. In repeating these age-old rituals, the director questions her own condition as an unmarried woman with no children, and therefore the end of a mother-daughter chain-relationship.

Following Bosnia and Herzegovina’s declaration of independence in April 1992, Bosnian Serb troops besieged and bombed Sarajevo. Over a period of four years, five young filmmakers documented the bombardments and daily life during the siege—for some, the aim was simply to report the news; for others, it was a way of dealing with their fears.