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A portal, a sorceress, a fictional device to portray existence as a moment encapsulated inside an instantaneous photograph to present fragmented biographical elements —family disintegration, rootlessness, scars, two loyal companions, the promises of a new land—subverting the notion of a home-movie and transform it into a pilgrimage tool of self-discovery, mirroring the fragile nature of memories.

This film takes a candid, inside look at the world of juvenile delinquency. We are shown the tough existence on the streets of Montreal, but it could be any city in North America. Some boys as young as ten years of age talk about their lives of crime, the things that are important to them, and the hopes they hold for the future.

Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.

There are more neurons in a human brain than particles in the universe. But if we could put one behind another, the only thing we would see would be a small river. An insignificant river and at the same time infinite. Under the streets of A Coruña there is a river that many have forgotten, but that from time to time overflows claiming what once was its course.