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Film short abstract

Man Ré dreams that of traveling to the space. There he finds voices that speak to him, his hopes, his fears, the ministers who appear on TV... Everything goes well until his ship breaks down… and realizes that he is alone.

Film synopsis

Man Ré dreams of traveling the outer space... and what if this happens?

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Angola launched in 2017 its first satellite into space... and got lost. “The Adventures of Angosat” is a retelling of this dream. An indie musical film written and performed by Isis Hembe, one of the most renowned Angolan urban artists. It brings together upcoming artists from the streets of Cazenga (Luanda) in a unique one-shot fiction film.

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Shooting the first Angolan musical has been an adventure in itself. The acting and the singing are all live and the sound of the people, doors, motorbikes... are real, just like everyone on camera.

It combines immersive sound landscapes you can hear in Dolby Atmos with images shot with limited mobility camera movements.

This project has been a once-in-a-life time experience for everyone. Having Isis Hembe on board, one of the most well-known faces of the Mudei -the biggest social movement in Angola-, has been a blessing.

The screening will be celebration full of joy, with music!

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Film short abstract

This film documents the encounter and conversation between Toby Gorniak, a Roma refugee who fled Poland in early 1990s, after enduring violence from skinheads and Mirek, a former neo-Nazi from Poland, now born-again Christian giving testimonies about his past.

Film synopsis

The film is one of the outputs of an ESRC funded project on transnational dimension of far-right activism between Poland and Britain (see: https://www.londonmet.ac.uk/research/centres-groups-and-units/global-diversities-and-inequalities-research-centre/projects-and-partners/everyday-transnationalism-of-the-right/).

The film documents the encounter and an honest conversation between Toby Gorniak, a Roma activist, and refugee who fled Poland in early 1990s, after enduring violence from neo-Nazi skinheads and Mirek, a former neo-Nazi and football hooligan from Poland, who used to engage in anti-Roma violence. Mirek is now born-again Christian giving testimonies about his past and transformation. Their conversation touches on the origins of hate, childhood, anti-Roma violence and its consequences. It also dwells on the possibilities for reconciliation.

While grounded in Toby’s story, the narrative also delves into Mirek’s transformation from a life of hate and violence to becoming an advocate against extremism. By offering his perspective, Mirek provides unique insights into the psychology of far-right extremism and the potential for redemption. The encounter between former victim and oppressor probes the healing potential of restorative justice in cases of hate crimes and violent racism. Through raw storytelling and compelling testimonies, the film demonstrates how personal transformation and honest dialogue can become powerful tools for fostering understanding and challenging hatred. However, the film does not provide clear and easy answers. Change is never absolute and the emotional character of trauma revisited by Toby and Mirek during their conversation is the testimony that past is always present.

The film has been awarded the Audience Choice Award on AKA DIKHEA Roma film festival in Berlin in 2025.

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Film short abstract

In Dakar, a fisherman, a visa-stalled student, and a basketball captain navigate uncertain futures, their dilemmas unfolding against the steady backdrop of a hand-carved pirogue readied for a perilous Atlantic crossing—an ever-present reminder of Europe’s elusive promise.

Film synopsis

Barça ou Barzakh follows three young men in Dakar, their futures carved into the ribs of a wooden pirogue. In Soumbedioune, master boatbuilder Mbaye planes bright planks for a vessel that might one day brave the Atlantic. His craft becomes a refrain linking Ousseynou, a fisherman facing dwindling fish resources and debt; Zakaria, a student trapped in the revolving door of visa paperwork; and Aliou, captain of the PAD basketball team, protecting teammates left unpaid while he dreams of playing abroad.

As the hull takes shape, the film intercuts three lines of pressure and projection. We follow Ousseynou on a fishing session that makes visible the scarcity shaping his days. Back on shore, he shifts into planning mode, seeking out the friends who might travel with him and trading practical talk about routes and timing. At home, his wife Mbathio cooks thieboudiene and weighs the pull of his plans against the danger they carry, while admitting her own wish to travel too. In Saint-Louis, PAD plays another match, hoping a win will bring much-needed bonuses after months without salaries, and feeding Aliou’s belief that sport can still become a passage abroad. In the Medina, Zakaria pursues a student visa for Europe while revisiting his life in Dakar, walking us through the university campus that shaped his ambitions, then working small hustles in Petersen Market, buying and reselling football kits to finance another attempt. The pirogue remains on the beach, a steady presence as each man tests what “leaving” could mean.