Trans-Cutucu, back in the rainforest

On the final journey back from high in the Andes down to the Amazon jungle, the director remains haunted by the film she has just completed about the Huaorani Indians and the anthropologist Laura Rival. A farewell to this alien people, strange and unfathomable, but also to her own people who are no easier to understand – the white helpers, researchers, filmmakers… Destroyers?

Two communities in Europe in 1992: Vechigen in Switzerland, Trhové Sviny in the Czech Republic. On the surface these two villages have no connection, but filmmaker Lisa Fässler brings them together. As people in Vechigen are contemplating Switzerland's entry into the European Community, people in Trhové Sviny are searching for a new identity after the disappearance of the communist regime. As the inhabitants of Trhové Sviny watch the Russian troops leave, the Swiss army thunders through Vechigen as part of an exercise. TANZ DER BLAUEN VÖGEL is a cinematographic essay on the new relations within Europe. Lisa Fässler is especially concerned with the human aspect of this process. The film examines the worries, hopes and dreams of people in two villages, that are geographically close but which are socially, economically and psychologically separated - thanks to history. In Vechigen there is a rigid satisfaction, Trhové Sviny is dominated by uncertainty.

Self-discovery journey of two girls in their mid twenties while they travel along the Ecuadorian mountains and coasts. Esperanza (Hope) and Tristeza (Sadness) will not find postcard views or perfect love, but their journey will teach them there’s a world beyond that.

In a world of one-way traffic, where the northern countries are exporting their economic and political model worldwide, one country in Latin America has undertaken a profound reform of these models to invent a new type of governance, both pragmatic and humanistic. The country in question is Ecuador. Rafael Correa, an established economist, who came to politics as a man on a mission, was elected President in 2006. Since coming to power, he has transformed a country with archaic structures into a social, independent, ecological and participative democracy. He has given Ecuadorians genuine reason to believe that the rigid structures of the past were no longer inevitable, that ordinary citizens had their word to say, and that, at long last, their voices would be heard. This film is intended for everyone, from rich and emerging countries alike. It suggests concrete perspectives to a new way of living the phenomenon of globalization. It shows that political, ecological and economic alternatives do exist. This film is not a film about Ecuador; rather, is about a political project, where utopia became reality. It is a film of ideas and reflections, suggesting solutions to the current crises besetting the globe. It proposes a real debate on the future of our society

En el Nombre de la Hija tells the story of a nine-year old girl whose name is in dispute. Manuela has been named alter her socialist-atheist father, but her catholic-conservative grandmother insists she should carry the name the first daughters of the family have carried for generations: Dolores. The story takes place in a Valley in the Ecuadorian Andes, during the summer of 1976. Manuela and her little brother, Camilo, are spending vacations with their cousins and grandparents at the family's farmhouse. Eager to defend her father's ideas, Manuela confronts her cousins and grandparents, but an unexpected encounter leads her to confront herself instead. Hidden in the family's abandoned library, schizophrenic uncle Felipe is devoted to setting words free from the constraints of dogmas. His wisdom sets Manuela free from her own dogmas and forever changes her relationship with words, including her own name.