The 2nd edition LIVE SCREENINGS GEORGIA

Tim is longing for love. He’s a lonely human being who struggles with exclusion every day. Every time Tim feels different than others he transforms into a french bulldog. Ginger makes Tim feel human. Ginger is an old friend of Tim`s whom he was in love with, unrequited love. Tim collides with Ginger in the street, they talk and become friends again. After meeting Ginger Tim becomes a dog again. This time he chooses to enjoy being a dog and sees all the possibilities of a dog`s life. It’s good to be a human being but it’s good being a dog sometimes too.

Based on the romantic photonovela "Singing to Love” (Amazon / books) this musical was born. As in silent movies, a narrator has been incorporated who sings the love story with the help of romantic images. His songs and dances reinforce the story. Altogether it is a beautiful entertainment for the senses where the spectator can interact singing in Spanish / English.

A young woman, lost in thought. - Does she love him? Does he love her? - The thoughts soon turn to obsession, the voices in her head start pursuing her. An old woman looks at her. Is she that old woman looking back at herself? VOICES tells of feeling powerless when in love.

A man is working on a love song. Drawn into memories that develop their own lives, he feels more and more threatened by the women who surround him. In the end, however, there is one woman left who brings everything back on track. "Mon Amour" is a film about relationships, about the image we have of ourselves, of the other and of love.

A warm spring morning in the kibbutz's public swimming pool. Aryeh (60) does not know how to swim, so he is led to the deep water by the swimming instructor who in his opinion is the best for him, his 13-year-old son, Yoav. In the early hours of the morning, when the pool is relatively empty, Aryeh and his embarrassing presence are easier to carry for Yoav. But what will happen with the arrival of Yoav's classmates? Standing between his father and the popular classmates, the delicate balance in the water becomes unbearable

Park Avenue & East 53rd Street is a film about and the Seagram Building and a New York City street corner on which it stands. It is written and directed by Paul Newland, with a voice over by Asheq Akhtar, camera by Tom Lecky, synthesizer by Ben Edwards (aka Benge), and archival footage from the film Birth of a Building (provided by the Hagley Museum and Library). Drawing primarily on the geographer Doreen Massey’s theoretical work on space, Park Avenue & East 53rd Street is an experimental, poetic attempt to use digital video and sound to explore the ways in which a specific urban location might develop a character (or characters) – through a process of ‘becoming’ - that could not have been imagined by architects and planners. The film also seeks to examine how far representations might affect the identity or even the life of an urban space. The film asks: what are the potential ‘uses’ or ‘potentials’ or ‘experiences’ of architectural spaces, as opposed to their original plans and design intentions? Employing contemporary iPhone footage of a street corner by the Seagram Building in New York City (a celebrated corporate architectural structure emblematic of modernity and US capitalism), alongside stock documentary footage of this building being constructed in the late 1950s, Park Avenue & East 53rd Street uses a voice-over to examine links between personal memory, nostalgia and loss, but also poetry, visual representations, architectural design, history, and the everyday rhythms of an urban place. By writing the voice-over/voice-off to be performed in a variety of modes of delivery – such as personal reminiscence, dialogue, academic lecture, omniscient expository narrator (direct address) – and mixing this voice with an evocative synthesizer soundtrack that serves to evoke the rhythms of the modern city as industrial complex - the film becomes a meditation on how far specific places in cities might be understood to be in a process of ‘becoming’ (Massey), and how representations might facilitate this ‘becoming’.

After a long career in education Daniel Leenaards is about to retire. He teaches history to last year secondary school pupils. The longest summer holiday in his life is on the horizon. But first he has to finish his last task, a teacher-parent meeting. And that holds more than one surprise for him.

On the ninth birthday, during the 1999 war, Rreze Abdullahu has written the Diary of Fear. In that significant day, she didn’t except any gifts or any birthday-party. She had only one wish: She didn’t want to die. That day, Rreze /Ray/ went towards the Serbian soldier who was guarded the area and said to him: Today, it is my birthday, and I don’t want to die!...I just want to be alive. The soldier began to cry. Rreze got stoned, she thought the soldiers never cry. Eighteen years later, upon the ruins of the past, Rreze appears in desperation with the world that doesn’t appear to be any better. This film has been based upon the true Diary of Rreze Adbullahu.

DO NOT INVADE EUROPE ¡¡ BUY IT!! Silent film based on real events turned into a Neorealist critical musical about the SPANISH ECONOMIC CRISIS (2008 - 2014). The Eurogroup led by Germany makes up to € 100,000 million available to Spain, of which 64,000 are used exclusively to "rescue the bank." Between the president and the head of the opposition they reform the Constitution to guarantee the payment of the debt. The European Central Bank through "the troika" controls the budget of expenses and income to recover its investment. The great political corruption that together with the crisis puts the Spanish debt above 100% of GDP is uncovered, which will have to be paid by the middle and lower classes with increases in direct and indirect taxes and cuts in salaries, health, culture and science

She invited guests to her birthday party, but nobody came...

Death is all around us. We see it on TV, it stalks us in the news on the Internet, it scares us by appearing in movies... Our story is about a war photographer who was close to death all his life, but unlike us, protected by personal cynicism and our own problems, he and death were separated only by the lens of the camera.