Coming of age story about Viki a young pacific islander attempting to escape the stifling conformity of island culture. Inspired by the myth of the Warrior Woman, Viki recovers from the death of her father and fights for justice and freedom for her community.
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Simon has to leave the island on which he lives to go to boarding school. One day he plays with his sister and finds a beached little wooden boat. Through his attempts to repair it he will accept, or not, to cast off.
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Tahar is a 20-year-old Sahrawi man who lives in the Basque Country. However, his family continues to live in the Tindouf refugee camp. One day, he receives a call from there: his father is dying.
nor any memories of the turning backs (2025)
[poem_body_memory_voice] None of them belong to each other. All of them belong to themselves. A layered accumulation —___- a poetic exercise on relating*_on_love, migration, and mourning.
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On Sado Island, Kii works as a cleaner at a gold mine. One day, she finds a collapsed woman in the facility and takes the woman to her home. The woman doesn't remember her past or even her name. The woman is named Midori by the two other girls living with Kii. Kii gets permission from the director for Midori to work as a cleaner at the mine. One day, Midori is attracted by the presence of cats and this leads her to meet Ao, who works as a night guard at the gold mine. Ao tells her that he also doesn't remember his past. Midori and Ao get attracted to each other and spend time together. One day, Midori meets Murasaki who seems to have a close relationship with Ao. This disturbs Midori.
When Time Ran Out... (1980)
An active volcano threatens a south Pacific island resort and its guests as a power struggle ensues between the property's developer and a drilling foreman.
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Return to the Blue Lagoon (1991)
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Ghang-gheng, the ancient winner-take-all competition in which the deadliest fighters from around the world employ the most spectacular feats of martial arts skills ever displayed in order to win the prized Golden Dragon. But fighting prowess alone will not be enough for Chris to triumph over such daunting foes.
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Karin hopes to recover from her recent stay at a mental hospital by spending the summer at her family's cottage on a tiny island. Her husband, Martin, cares for her but is frustrated by her physical withdrawal. Her younger brother, Minus, is confused by Karin's vulnerability and his own budding sexuality. Their father, David, cannot overcome his haughty remoteness. Beset by visions, Karin descends further into madness.
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Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.
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Gung Ho! (1943)
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Partenza (2017)
The video installation entitled Partenza (Italian for departure, and used in many of Croatia’s island and coastal dialects) express the global insecurity of contemporary society and the fragility of human existence. Metaphorically, they address a story about departure, waiting and separation, dictated by migrations. In the early 20th century, it was usual yet traumatic for men to leave Croatian islands (mostly bound for the countries of South America) due to poverty and hunger. One of these tragic stories is weaved into the author’s family history. The installation is inspired by the life story of Renata’s great-grandmother who lived on the island of Brač, whose husband went to Chile looking for work in order to secure his family’s future. Like many of the island’s women, she waited for her husband who, like many of the men, never returned.
