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This is the story of an Uitoto Indigenous person who organized resistance against rubber exploitation in the early 20th century under the Casa Arana. Yarokamena invokes the spiritual and cosmic forces of war, unleashing from its container its destructive power that ultimately creates a spiral of betrayal and death. This remarkable tale was prohibited by traditional authorities due to its potential to incite youth to rebellion and serve as a stimulus for resorting to witchcraft. This story is narrated by Gerardo Sueche, advisor to the Uitoto people, traversing filmic portraits of a delirious Amazon, overrun by technological ruins, dysfunctional antennas, ghost ships, and colonial specters lodged in the oral memory of survivors of this episode of exploitation and extractivism. The film employs cinema as a new vessel for this destructive force.

Andrés Jurado, is a Colombian artist, filmmaker, researcher, and producer whose creative exploration spans experimental and expanded cinema, archives, counter-archives, contemporary art, propaganda, mosquitoes, extraterrestrials, and the space race. He investigates their intricate impacts on shaping modern narratives and politics. He co-founded La Vulcanizadora, a studio that facilitates the convergence of Experimental Cinema, Visual Arts, Expanded Theater, and other practices. His film "El Renacer del Carare" earned a Special Mention at the 31st FIDMarseille (2020) and the Audience Award at Panorama de Cinema Colombiano (Paris, 2021). His recent short film, "Yarokamena," premiered at the 72nd Berlinale Forum Expanded and received an Honorable Mention at DocLisboa, Portugal. Between 2017 and 2021, he curated the Expanded Documentary section at MIDBO in Colombia. Part of the Forensic Architecture Team, he contributed to the "Traces of Disappearance" research and exhibition, focusing on land issues in Colombia. Currently, he's engrossed in his debut feature documentary, "Welcome: Interplanetary and Sidereal Space Conquerors." This captivating essay film offers a Latin American perspective on cinema, colonization, and the space race, following the specters of a jaibaná, an Emberá indigenous shaman involved in preparing astronauts for their monumental lunar journey.

'These images are not about people, they are about results', so begins the film's first chapter spoken to a hollowed out, once grand facade of a railway station, its name still vividly written in Georgian, Abkhaz and Russian. Now it stands abandoned in an overgrown plot, shattered columns dangling precariously like broken limbs. This You Must Remember is a film that explores notions of suspended trauma and aftermath in post conflict Abkhazia, a de facto state in stasis since the Georgian-Abkhaz war (92/3). The external image of Abkhazia is most often reflected through the ruins and detritus of war that scar its cities and landscape. The film creates a counter narrative, drawing from the personal recollections of those who remain, who knew those ruins as homes and schools, as places of work and enjoyed places of leisure. Their memories, reworked into narrative scripts, are retold by them through voice performance, interleaved with historical footage and imagery of the place as it looks today. What emerges is an alternative form of documentary exploring notions of fragmented memory and psychological truth - a close-looking narrative that unfurls the traumatic process of ruination and the notion that any society's stability is an enduring condition.

Sam Jury is an artist filmmaker who works across the forms of moving image, sound and installation. She frequently collaborates with other disciplines, such as choreographers, writers and psychologists. For many years she has been interested in what she terms ‘suspended trauma’ - unresolved events replayed through shared narratives often supported by screen technologies and what cultural theorist Rob Nixon calls 'slow violence' - the long, drawn-out effects of disaster. Current collaborative projects, with insider practitioners, include Stories of Unexpected Loss, a series of hybrid performances (theatre and visual art installation), driven by contemporary narratives and verbatim conversations within post-conflict Abkhazia. And Mistaken Malady, a film and installation that uses the forms of editing, sound, choreography and text to embody the nuanced and complex presentation of Tourettes Syndrome.

In the high Himalayas, the village of Lohari, once alive with myth and spirit, is now submerged beneath the waters of a hydroelectric dam. The last boy of the Jaunsari indigenous community, living in the remnants of his flooded village, recalls a time when gods roamed the mountains, labourers turned into lizards, and the land pulsed with magic. Through letters to a girl who left long ago, the boy’s tale unfolds, blurring the lines between reality and myth. As the boy navigates the barren landscape, his memories twist into the supernatural: a world where the past lingers, where the living and the dead merge, and where the rains no longer bring joy.

Yashasvi is a self-taught filmmaker, screenwriter, and producer from Uttarakhand, India. His short film The Last Rhododendron won the Gender Sensitivity Award at the Dharamshala International Film Festival (2021) and competed internationally at the Mumbai International Film Festival (2022). In 2023, he was a finalist in Netflix’s Take Ten programme, where he developed his debut feature, The Ink-Stained Hand & the Missing Thumb. His short documentary Rains Don’t Make Us Happy Anymore had its world premiere at Visions du Réel International Film Festival (2025), competing in the International Short and Medium Length Competition. The film has since screened at festivals including the Beijing International Short Film Festival, FIDBA – Buenos Aires, Bangkok International Film Festival and won Best Short Documentary at the Oslo Film Festival (2025) His debut feature, The Ink-Stained Hand & the Missing Thumb, was selected for the Hong Kong International Film Festival Industry – HAF 2025 Work-In-Progress Lab. A Doc Producing South alumnus, Yashasvi was also selected for the Directors Program by the Red Sea Film Foundation – Red Sea Lab, where he was mentored by filmmaker Spike Lee.