Documentary
In the 2000s, Vicente Viloni and La Masa became legendary wrestling rivals and idols for kids across the country. The hit television show "100% Lucha" brought a spectacle of skill and drama to every home, forging a famous rivalry that transcended the screen, leaving a mark on…


Vicente Viloni

La Masa

Eduardo Husni

Decolonising the Curatorial Process is a forty-minute documentary which explores decolonial strategies in an academic and curatorial context. The film features academics, activists and practitioners, and contains case studies of institutions that are deploying critical, self-reflective forms of curatorial practice. The Museum of London Docklands exhibition on slavery and the sugar industry is examined as an example of how an institution can decolonise the curatorial process, utilise the work of artists in a museum context, and critically examine East London's imperial history. The Pitt Rivers museum in Oxford, who are working with Maasai activists from Kenya and Tanzania on a project centred on repatriating the museum's collection of sacred Maasai artefacts, also features in the film.

Between the nostalgia of resurfacing roots and the desire to venture into song to experience a rebirth, Nicolas Maury reveals himself unguarded before Didier Varrod, with a deeply moving sincerity. Nicolas Maury released his first album, La porcelaine de Limoges, in January 2023—a new experience for this unique, demanding, and multifaceted actor. It is an opportunity to paint an intimate portrait of him through an extended interview on a train between Paris and Limoges. In this specific setting, which was also that of his first (silent) film role with Patrice Chéreau in Those Who Love Me Can Take the Train, Nicolas discovers archives and hears from close acquaintances who speak about him. A documentary film, like a kind of initiation rite, it moves back and forth between memories of France and childhood, and his condition as a man and artist today, taking on a new identity through music.

An analysis of the controversy over the participation of women in the Irun and Hondarribia festivity known as Alarde. It is divided into three parts: in the first part, the history, structure, and characteristics of the Alarde are explained; in the second part, the beginning of the conflict and its development in the 1990s; and in the third part, the present situation, reflecting on the present and future of the festival.