Jean Rouch shot La Pyramide Humaine in 1961. We discovered it the summer of 2012. This treasure draws suggestive connections between a politic conflict and the art of creation by itself. That summer we were in charge of shooting the staying of Sahrawi children with host families from Barcelona during the summer holidays. Nothing seemed to us more inspiring than get deep into the essence of that movie. And we dare to play. It is an audiovisual experiment, by way of an imperfect tale, with three protagonists: a Sahrawi friend in exile, a group of kids from the desert and a play.
In 1978, just after Le fond de l'Air Est Rouge, which mercilessly analyzed the previous ten years of the revolutionary left's momentum until its collapse, Chris Marker made this complementary piece entitled Quand le Siècle a Pris Forme (Guerre et Révolution).
Daia Sahara is a trip to near and distant realities, a trip full of emotions, sensations and experiences, which despite their proximity, are alien to us but which build an energetic bond between Spanish families and Sahrawi refugee families.
Suso is a Sahrawi child. He has put his name down for a humanitarian aid program that allows saharawi children to spend a holiday away form the refugee camp where they lives.
This is a story about women who are fighters, tenacious, hopeful, active women…who were capable of lifting, from nothingness, in the harshest landscape of the world, life.
Bachir dreams of swimming in the sea, but he lives in a refugee camp in the desert. Despite the fact that he has no passport, he is offered the chance of a lifetime: he may be allowed to go on summer camp to Spain.
For one of the longest-running game franchises in history, Street Fighter creators Capcom needed something exceedingly special to accompany the release of their 25th anniversary edition of the game.
