Playlist
One morning, Jessica Holland—a Scottish orchid grower visiting her sister in Bogotá—is awakened by a loud bang. The sound disrupts her sleep for days, causing her to question her identity and leading her from recording studios to jungle villages in an attempt to find her origins.
Through a series of letters read aloud to an absent lover, we learn about the fears, desires, and philosophical identity of a young woman named L, a student at the Film and Television Institute of India. Through these words, and via the documentary images collected by her and her peers of contemporary Indian youths engaged in university life, writer-director Payal Kapadia has constructed a brilliantly fragmentary work of witnessing. A Night of Knowing Nothing—winner of the Golden Eye award for best documentary at this year's Cannes Film Festival—is a testament to the inseparability of life, film, politics, and dreams, while functioning as an essential portrait of the ongoing struggle for resistance from discrimination.
Daniela doesn't know what to do with her life or where to go. A sleepless person, she tries to find a way out of what she calls a "constant liminal phase." She wanders around her Vienna neighborhood and spends time with two friends, Mia and Natascha, who are visiting her from Berlin.
In sunny Portugal, Crista, Carloto, and João enjoy the rural peace during the COVID lockdown. They spend their time in a large house, and the warmer summer days are filled with dancing, daily chores, altered sleep patterns, flirting, and building a butterfly garden.
A discovery of cryptic mini-cassettes in her aunt's old house propels Cas on a sonic scavenger hunt through the lush outskirts of Los Angeles, its diverse musical community, and through history itself, for answers.
Residents describe their lives in the Rouguière, a unique district of Marseille that welcomed returnees from Algeria in 1962. Through their testimonies, they relive memories that are haunted by history and the loss of loved ones.
A young woman takes possession of an apartment and on the doorstep, greets the former tenant who's chosen not to leave a forwarding address. This woman thus enters the film and haunts it all the way through as we follow her endlessly, present in each sequence.
A young woman spends a lot of time in a house. She is usually alone, sometimes she chats on the phone, she rarely receives visits: a buddy with her boyfriend, a potential boyfriend, wannabe candidates for a room to rent. Until the right roommate arrives…
As hilarious as it is uncomfortable, this family's murder ballad ocould have been a song by Nick Cave and the Bad Seeds.
Former labourer Jean-René is now retired. He has lived in Mâcon, France, since emigrating from Réunion aged seventeen. For the first time, he breaks the silence and tells his daughter his story. His account reveals mysterious dreams and sorrow that are rooted in the wounds of French colonial history.
For 18 years, director Claire Doyon has been filming Pénélope, her daughter with autism.
In the mystical French region of Camargue, Tom Medina turns up, on probation, on the doorstep of big-hearted Ulysses. Tom dreams of becoming a good person. But he's warned by the hostility flung in his general direction, which shows no sign of abating.
Traveling to Bosnia in search of his origins, filmmaker Stefan Pavlović meets a solitary fisherman. One man has language impairment, the other lost his hearing during the war. Camera in hand, the director films the onset of this improbable and profound friendship.
Starting with the memory of a song hummed in a rainy night, Chronicles of That Time investigates the shifting identity of the Mediterranean; from 'the shared sea', unifying the cultural diversity of Africa and Europe, to closed borders.
Appendix from the falls of the third of the lost ones.
This film is putting together an archeology of images as actions, conducting a worried exploration of the capacity and lack of the human imagination when confronted with the most dismal darkness.
A 2021 documentary written and directed by Pierre Creton. The film screened at 3 festivals, including Viennale & FIDMarseille.
Grand Central Hotel is a ruminative portrait about the American musician, activist, and essayist Terre Thaemlitz.
Prayer doing nothing to their perdition, the traveler and his shadow make their way at the crossroads of images and voices encountered on the road that form and deform as they advance. So many appearances that are each an opportunity to stop for a while, to take a look or to listen.
A 2021 French language animation film directed by Louise Deltrieux. The film screened at FIDMarseille in 2021.
A drifter wanders the streets as a current of queries invites the viewer to consider daily existence.
A 2021 French language documentary written and directed by Antonin Peretjatko. The film screened at FIDMarseille in 2021.
A 2021 French language documentary written and directed by Zoé Chantre. It has won 3 awards. The film screened at 3 festivals, including FIDMarseille.
The film reflects on her life and creative practice, as Montini positions herself not at the center but on the periphery, weaving personal archive and self‑portraiture in a meditative exploration of artistic identity and the act of witnessing.
Argentinian poet Fabian Casas wrote that everything which rots forms a family. There are two families in this film, each mirroring the other, but time is not there to orchestrate a decomposition. When things end abruptly and unintentionally, they leave a void that resembles a cliff; a movement suddenly cut, like jumping off a spinning carousel and finding the stillness of the ground profoundly disorienting.
This is the exact feeling produced by VIDA COMIENZA, VIDA TERMINA. A man builds a life with a woman and tragedy strikes. What can be done? He had been writing a film, and suddenly both fiction and life start to merge. There is the fictional portrait of the Argentinian pampa, embodied by a gaucho drowning in an economy about to be destroyed, while his wife is consumed by absolute sadness. There is also the documentary portrait of a man who records his family constantly, each moment so precious, while his wife is slowly eaten up by a tumor. A film like an exorcism, an exercise in creating a mirror of one's experience to be able to understand and, if not to heal, at least to be able to create something in full detail, form, and sentiment, to be the one who decides when and how to destroy it for once. (Lucía Salas)
Danger lurks. 13-year-old Jojo is about to abandon a neuro-syphilitic father to the loneliness of his blindness. These two, accompanied by the fascinating and ambiguous presence of a young nurse, have a few days to say goodbye.
The Invisible Mountain follows a roadie for the band Olimpia Splendid on a quest to find the fictional mountain.
Ob Scena is an experimental short documentary returning to academic texts on sexuality written by a psychiatrist in Cuba in the 80s and drawing a link with today's pornography. A reflection on the place of social control discreetly infiltrated in the representation of sex.
Despite a great effort, the professional development of Diego, Andres and Renee, university students, is affected due to a diversion of resources by the authorities.
Duende without an arena, in the shadow of the Méjan chapel in Arles, Mano a Mano is neither a duel nor a duo. But an eloquent hand-to-hand encounter with words. The poetry of life versed directly into the microphones.
Vikken is transgender. He's about to take hormones for the first time. He records his voice that will disappear, and summons the figures of the past from all over the world for an intimate dialogue with himself.
It reflects on the lingering sound and memory evoked by the final image—an intimate and meditative exploration of presence, absence, and the relationship between sound and the moving image.
Set inside the Museum of Hunting and Nature in Paris, Taxidermisez-moi sees an ambiguous and apparently playful mirroring between the taxidermied animals portrayed and a series of liminal figures between the feral and human universe.
Sasha Pirker's Real Time is concerned in a two-fold sense with recording artistic creative processes. Shooting with a Bolex camera, the filmmaker documents the form-finding creation of a drawing in real time.
A man writes a poem to the death of his mother in the courtyard of his childhood home, on the banks of the Magdalena River. A journey through the shadows that inhabit the memory of a space, like dry leaves dragged by the heavy flow of a river.
In a playful critique of Japonisme, the craze for Japanese art and design in Europe in the mid-1800s often rife with misunderstanding and projection, HONEYMOON recasts the wedding scene of the opera and film Madame Butterfly. Joining Cio-Cio San (Qinhua Yang) is the photographer Adolf de Meyer (Taro Nettleton) and anthropologist Frederick Starr (Jack Mclean), kneeling seiza-style as broadcast commentators describe the action now set on the lunar base Nagasaki.
A day in the life of a woman goes through a separation – told in moving and still images.
Crashing Waves follows a testimony from a stunt performer who discusses both the ecstasy and peril involved in their work to defy gravity.
"Once upon a time, 3,000 years ago, a ram died on a mountaintop. Just before, we'd had our last picnic." This poetic animated short revisits a biblical myth in low-res synthetic landscapes, blending the quest for wisdom, happiness, and spiritual reflection through Mili's avatar pilgrimage
Under a charred tree, a young man strikes bones with stones to an electro beat, accompanied by onscreen text. Through this visceral imagery, the film weaves a brief history of ancient Mexican agriculture—marked by forced labor, pillage, and blood. In its final act, it turns to silent, haunting Pacific seascapes, evoking memories of Mexico's "death flights."
The Buharovs, as the harbingers of a supra-human world, blend their instinctive cosmos with a kind of quiet poetry to lead the viewer into the Land of Warm Waters and onwards to new dimensions of storytelling.
A woman sits in an armchair staring at a mark on the wall, spiraling into a surreal journey. Adapted freely from Virginia Woolf's text, the film interweaves interior and exterior spaces, voiceovers blending a surgeon and Woolf-inspired narration, exploring material agitation and hidden secrets.
To celebrate its 80th anniversary, the Saumery psychiatric clinic organizes a conference on "traumatic intelligence." Amid preparations and patient-caregiver dialogues, the film immerses viewers in the psychotherapeutic atmosphere rooted in Jean Oury's institutional psychotherapy, capturing tender, irreverent, and humane moments.
"Ire" — a feminine noun meaning wrath, rage, fury, indignation — is a powerful cinematic chorus: women, framed in tight close-ups, stare into the camera and declare "I am…," voicing their protest against oppression, contempt and violence. Shot in four languages, it becomes a Babelic call to resistance, including the striking gaze of an expectant mother already aflame with rage
Driven by an eccentric energy and a taste for changes of speed and register, young couple Ilia and LilIa follow in the footsteps of a poet who was born in 1884 in Tiflis and died in Paris in 1975. He was known to the world as Iliazd. His unusual life can only be told in the form of an odyssey.
Inside Le Sépulcre (a former church in Caen), a choreographer manipulates hundreds of photobooth portraits of anonymous men. At first contemplative, her movements grow frenetic—an inquiry into presence, absence, identity, and collective memory.
In the cars that pick him up like he hitchhikes, the voice of a young man we'll never – or hardly – see, describes in detail the depression that brought him to the medical health center.
Inspired by archaic fears and fragilities, the film—shot on 16 mm in Spain—follows a mute boy and a young girl in a landscape of ruins bathed in bright light. Guided by dream and imagination, they attempt to rebuild meaning from fragments of their surroundings, navigating a labyrinth of perception and narrative.
African fashion model Alexandra Cartier meets Jorge Luis Borges in a visionary experience. What does the famous Argentine modernist writer have to say about our contemporary ecological and pandemic problems?
An academic prepares for her court appearance. The state apparatus sneaks into the house of the academic, making her adjust her words, body and gestures.
Portugal, 1911: after the implantation of the Portuguese republic, the process of secularization of the State gains strength. A woman known as A Brasileira performs miracles and is persecuted at Olaias. Her magic and story cross times, seas and lulls my niece's sleep.
An interwoven cinematic enactment of Jack Spicer's eponymous long poem, conducted in the alpine village of "La Pomme Chinoise". Local villagers recite, reinterpret, and "translate" the work—written on black cards and loose sheets—against a backdrop of rock music, collective voice and poetic improvisation, exploring the poet as a receptacle and transmitter of external voices
Inside a French law firm, three dedicated lawyers—Christine Mengus, Nohra Boukara, and Audrey Scarinoff—labor tirelessly to defend immigrants facing deportation and legal uncertainty. Through courtroom scenes and intimate consultations, the film exposes the emotional toll and moral urgency of seeking justice in an often-absurd administrative system
Once a year, Liem, a young man from an ethnic minority in Vietnam, leaves his ordinary life behind and retreats to the jungle with his friends. During his 'time out', he tries to maintain an ancient tradition that is threatening to disappear, as is the forest it takes place in.
Three young people from Marseille, on summer holidays in nearby Martigues, make friends with their summer neighbor, a woman from Paris. With their meeting as a starting point, the filmmaker plays with genre-film formulas to provoke and record a process of awakening and politicization.
Summertime. While a pandemic spreads overall, Paul, his wife Hélène and his little sister Lisa, isolate themselves in their countryside house. There, they meet old friends: Bruno and his sister Mélanie… Based on Maxim Gorky's Children of the Sun play.
Following his time in Bali and Provence, where he faced the loss of both his father (in a diving accident) and his mother (to cancer), Nuguet crafts a poetic, visual journey that blurs life and death. The film becomes a ceremonial dialogue between the living and the deceased, weaving together memory, grief, and ritual.
In a delicate and poetic portrait, Water Lily Split traces the early years of siblings Basile and Hortense. Against a setting of nature's quiet textures—the lapping waters, distant cricket sounds, a pool turned pond, and a giant shell—the documentary-like vignettes explore the brink of language emergence, memory, and the small epiphanies of childhood.
In November 2009, Dumora walks from his childhood home in Paris's wealthy 16ᵉ arrondissement to the infamous Clichy-sous-Bois electrical transformer where Zyed Benna and Bouna Traoré died fleeing police in October 2005. Twelve years later, he transforms this four-hour pilgrimage into a powerful, 35‑minute performative documentary. Silent walking footage is punctuated by onscreen text—police radio clips, trial documents, survivor testimony—creating a haunting critique of social division, police violence, and memory.
Paris, in the early 21st century. Edouard is a painter, Charles is a poet. The two artists are friends but their adverse circumstances are beginning to weigh on them. Gulcan, a foreigner, suddenly appears. An idea dawns on him.
A handheld camera, passed from person to person across Kinshasa's informal laborers and vendors, offers a visceral, immersive journey through a single workday in the megacity. Through gestures, movements, and economic exchanges, the film reveals the pulse and interconnectedness of urban survival.
"Lean On The Wall" follows "Bernard," portrayed by the director himself, as he narrates a personal diary of sexual abuse into an old cassette recorder. He performs various postures—leaning, sitting, dancing—while the film interweaves archival experimental footage, creating a visceral, formalist exploration of trauma and memory.
In Saturn and Beyond, Declan Clarke recounts his early childhood, up until the closing down of the Irish Museum of Broadcasting founded by his father. It seeks to reflect upon the decline of our neurological functions as we seek to develop more rapid and pervasive means of communication through technology.
An evocation of the famous American painter, Lee Lozano. But how does one conjure the spirit of a figure who moved through waking life in many altered states?
A shamanic documentary whose main theme is the hunt for man through eras and continents and whose driving force is dance as an art of war and healing to ward off, organize, the resistance of souls and bodies.
A meditative, four-movement docu-fiction that unfolds as a lyrical portrait of rural tragedy. Following the accidental death of a child by stray bullet during seasonal hay-burning, the film weaves together images of mourners, scorched earth, intimate faces, archive visuals, cremation rituals, and lingering embers—evoking grief, memory, and the threshold between life and death.
A multi-million dollar urbanization project for the indigenous territory of Gran Chaco threatens to relocate Wichi families and disrupt their ancestral way of life. Chief Valentino and his grandson refuse to comply, which nudges architect Ana to own up to her role in their displacement.
A machine that houses a ghost. The artificial body. Through an exercise in transmutation, an elderly human performs a ritual that allows them to deposit their essence into the body of a drone. In the machine's gaze, a new illusion is reconfigured.
Paris. Gabrielle and Enzo, two teenagers from the same gang, meet in front of the school. Cigarettes, the affirmation of sexual desire, and the discovery of new drugs mark their day. Each, in their own way, celebrates or mourns a childhood that is disappearing.
In the last days of the summer of 2019, young filmmaker Vadim returns to his hometown to say goodbye to his first love Anya. This starts the cycle of ritualized farewells that follow, each one exploring the meaning of endings in a different light.
Lacerate blends elements of realism with a dreamlike, symbolic dimension, portraying the extreme decision of a woman who turns from victim into executioner.
Juste un Mouvement is Vincent Meessen's free take on La chinoise, the 1967 film by Jean-Luc Godard, and a 'film in progress of making itself' in Dakar.
Renowned French novelist Marguerite Duras's tale of the demise of thousands of antelopes uses powerful imagery that's drawn on by filmmaker Maxime Martinot to make a statement about the nature of surveillance in today's world. A superbly crafted and visually arresting treatise on herd mentality, surveillance and freedom.
In a pulsatinf red screen the words of actress Daria Deflorian transform the absence of images into a dramaturgical and listening space.
A 16 mm cinematic poem shot just after the 2020 COVID‑19 lockdown: a group of friends perform domestic gestures—touching, cooking, spinning a toy top—captured through an eerie red filter. The film explores the fragile balance between tenderness and latent violence in everyday life.
Aurochs is the name given to the wild ancestor of modern cattle. The aurochs has the distinction of being the first documented case of extinction. The last known wild aurochs died in the Jaktorów Forest in Poland in 1627. Hunting and the introduction of domesticated cattle led to their decline and disappearance. Their value, however, derived not just from them being a source of sustenance. Traits that were attributed to the animal, such as speed, strength, and courage, imbued it with great symbolic power. Some of their body parts were ascribed with supernatural powers. The skin of the forehead and a cross-shaped bone inside the heart were prized for their magical properties. Those who carried them became possessors of the animal's traits.
In the 20th century efforts to bring back the Aurochs from extinction began to materialize.
Podesta Island exists according to Google Earth.
Podesta Island does not exist according to Wikipedia.
Does it really exist? In a hyperconnected and mapped world, are there still unknown areas?
The film Podesta Island paints the portrait of a controversial phantom island by confronting documentary sources with the narratives and legends inspired by this island. This exploration, where satellite imagery and live action intertwine, brings us closer to Terra Incognita and celebrates the beauty of imaginary geography.
A man and a woman kill time as they look out from Montjuïc hill in Barcelona towards the container port and the Mediterranean.
In Brussels, February 2020, a man who arrived in Belgium in 2015 narrates his persistent sense of alienation. As he recounts his experiences, an inspector documents his testimony amid a city under perpetual transformation. The film reflects on migration, bureaucracy, and the evolving urban environment.
Today in France. A man escaped from a detention center travels the roads trying to reach Paris. At the same time, in 1894, a strange scene takes place in an apartment.
Iván Argote conceptually links Bogotá and Paris through street collages denouncing femicides in France. The voice of Diana Rodríguez Franco (Bogotá's Women's Affairs Secretary) accompanies these images, weaving a powerful transnational critique of gender-based violence.
The camera wanders through two stately homes , both of which are now open to the public as museums.
Flowers have decided to hear the noises of an unknown girl.
An eight-year-old boy finds a dead man's body at the top of a mountain. As he knocks on the doors of the village, trying to solve the mystery, a portrait of a village is revealed – a place in transition between the traditions of the past and the violence of contemporary reality.
A trauma therapy on film for an uprooted elephant cow – a social creature that, like all of us, needs security and a home to form stable relationships.
When her village is threatened with forced resettlement due to reservoir construction, an 80-year-old widow finds a new will to live and ignites the spirit of resilience within her community.
In the mountains of Lesotho, an 80-year-old widow named Mantoa eagerly awaits her son's return from working in the South African mines, only to learn of his demise instead. Yearning for her own death after the loss of her last remaining family member, she puts her affairs in order and makes arrangements to be buried in the local cemetery. Her careful plans are abruptly upset by the news that provincial officials intend to resettle the village, flood the entire area, and build a dam for a reservoir. Mantoa resolves herself to defend the spiritual heritage of the community.
Writer/director Lemohang Jeremiah Mosese crafts a vivid and ethereal meditation on life, death, and the power of the human spirit. Veteran actress Mary Twala Mhlongo commands the screen, beautifully portraying a woman fighting her last and most important battle. This Is Not A Burial, It's A Resurrection creates an ode to a way of life perhaps soon to disappear in the name of progress and guides us through a world where the dead co-exist with the living.
An Oliver Hermanus film, following a conscript through his military service in the South African Defence Force in the 1980s.
Two brothers fight over their children's wedding. Tierno's role as a father and his responsibility as a spiritual leader are at odds.
Through the phantasmagoric visions that a thermal camera can offer, director Oscar Vincentelli reinterprets the ancient practice of bullfighting.
In downtown Charleston, South Carolina, black owned convenient stores like Joe's have almost disappeared. Joe is fighting to keep his but he knows that its survival depends on the survival of his local community.
A group of soldiers in a small town on the Mekong River in northern Thailand are struck with a bizarre sleeping illness.
Dying of kidney disease, a man spends his last, somber days with family, including the ghost of his wife and a forest spirit who used to be his son, on a rural northern Thailand farm.
Shot in Nabua, in northwestern Thailand, it chronicles a bloody battle between communist peasants and the totalitarian government. Apichatpong Weerasethakul evokes the dangerous cycles of violence and repression, along with the hope of remembrance and perpetual rebirth.
A fluorescent tube illuminates an empty playground in the evening. Nearby a flash of light is projected on a makeshift screen. This outdoor movie is a portrait of a village repeatedly struck by lightning. As night falls, the silhouette figures of young men emerge, they are playing with a football raging with fire. They take turns kicking the ball which leaves illuminated trails in the grass. The lightning on the screen flickers amid the fire and the smoke rising from the ground. The game intensifies with each kick that sends the fireball soaring into the air. Finally the teens burn the screen and crowd around it to witness the blazing canvas, behind which is revealed the ghostly white beam of a projector. Phantoms of Nabua is part of the multi-platform Primitive project which focuses on a concept of remembrance and extinction and is set in the northeast of Thailand.
Two young men in a pickup truck are filming themselves. Belonging to different parts of the world, through the use of a camera they are discovering each other. In a windy atmosphere, they initially film each other with close ups on parts of their bodies, then, little by little, they shoot their full figures. As the camera lenses change, a landscape of rice fields and a cinema crew get into the frame. The camera then reshoots the road and the men, as if we were witnessing a film rehearsal. When the frame goes back to shoot one of the two main characters who has tattoos over his body, the man lifts his shirt up and tears off a wired microphone that is taped to his chest. He then pastes it on the tattoo and cries out from the top of his lungs. The microphone picks up the heavy wind noise and the camera moves to captures his face. He looks directly at the camera, smiling.
If exists, apart from the Vampire Finch of the Galápagos Islands, Nok Phii would be the only species of bird that feeds on other animals' blood. In several of the local tales, Nok Phii is portrayed as an aggressive nocturnal predator. In some stories, it even attacks human. In 2007, a sighting of a male and female Nok Phii in a remote mountain was reported by the villagers in the north of Thailand. There was a speculation that this was the only pair left in the world. This supposedly small with large eyes bird has never been captured, dead or alive. There are no remains. Without concrete evidence, this rare bird might only be an imaginary animal associated with alluring danger and mythical aura. VAMPIRE is a dream of the strange avian and its habitat, an impression of a voyage to capture this unusual treasure on film.
Like Kamanita, the unchanged Morakot is a star burdened with (or fueled by) memories. Apichatpong collaborated with his three regular actors, who recounted their dreams, hometown life, bad moments, and love poems, to re-supply the hotel with new memories.
A trip along the Mekong River (on the border between Thailand and Laos) to scatter the ashes of a dead father. On the soundtrack, a crew-member recalls how his late father visited him in a dream. The presence of the dead, the memories of the living.
Director Apichatpong Weerasethakul's love story between his parents inspired this romantic drama that follows three mysterious stories that span and intersect across rural and urban spaces.
Apichatpong calls this a "Cinema Anthem" – designed to play at the start of a program, to bless what follows.
A romance between a soldier and a country boy, wrapped around a Thai folk-tale involving a shaman with shape-shifting abilities.
A love story between an active factory worker (Roong) and a minimalist illegal immigrant (Min), in the jungle of Thailand.
A camera crew travels all of Thailand asking villagers to invent the next chapter of an ever-growing story. A TV-obsessed boxer, a group of schoolkids, a lonely rubber-tree tapper and feuding food vendors all add to a tale that includes witches, tigers, surprise doublings, and impossible reversals.
A handsome, idle, and hopeless neurotic lives in a labyrinthine, half-renovated Paris flat with his ailing grandmother, a faithful family servant, and Ariane Rey, his willing captive, the object of his obsessive jealousy and unquenchable desire. Inspired by Marcel Proust's La prisonnière .
In this vibrant and enigmatic queer film, the night becomes the perfect setting for blurring the boundaries of social norms. In hidden settings, from a lesbian club to a pornographic cinema, lovers and strangers indulge in their contradictions, protected by darkness.
Ali in Wonderland openly exposes the conditions of migrant workers in Paris and its surrounding areas in the 1970s. It is a cry of rage at French society, that wonderland where exploitation and racism thrive and the colonial spirit lives on.
In a bar, while visiting Algiers with his wife, Simon recognises an Algerian man that he tortured in the past. Mixing fictional scenes with archival images, Mohamed Zinet deviates from a city commission to make what will be his only, unclassifiable work, rather disliked by the authorities at the time, before it became a cult film and was restored and digitised in 2016.
In an empty museum, a number of young women reflects on transnationality and living in diaspora. In an environment where colonial history is still tangible, they smoothly and confidently navigate between politically charged considerations and personal stories. Thekrontjong [Indonesian diaspora music] improvisations by the band FRED is the musical layer in their collaboration.
Landless Mexican peasants invent a new shape of fight by using their body as place of political and social resistance: Since the government does not want to recognize their existence, they will demonstrate completely naked in the streets of Mexico City, twice a day, until they are proved right.