A rock of cobalt channels a chorus of voices as it undertakes a trans-continental journey beginning in a mine in the Democratic Republic of Congo.

Artifacts of War is a filmic essay that examines the growing market for "non-lethal" weapons, uncovering the issues and arguments put forward to justify their use. Every year, hundreds of people operating under the banner of national security parade through the world's most important arms fairs: a man explains the advantages of "non-lethal" weapons, an instructor demonstrates how electric shocks should be applied to a mannequin, a pair of hands converts a blank-firing gun into a deadly improvised weapon. Behind each component lies a technology; behind each technology, a political and social rationale.

New forensic technologies help a group of families reconstruct the fate of their relatives, whose bodies were stolen and secretly transferred to the Valley of the Fallen. The film uses digital techniques and archival material to restore what repression tried to erase.

After the death of her mother, Belgian filmmaker Miléna Trivier develops prosopagnosia and loses the ability to recognize faces. Yet, the Faces reflects on the rise of algorithmic surveillance and the use of biometric data in a world shaped by the global expansion of facial recognition.

A finalist for the 2025 Lumen Prize and conceived as the first installment of a trilogy based on Jorge Carrión’s novel Membrane, the film invites viewers to reconsider what it means to be human in an era shaped by artificial intelligence, memory engineering, and digital consciousness.

A deteriorated film shot in 1982 in a Latin American country shows a sequence of everyday images, among which a few stand out as testimony to the violent events that took place on May 9 of that year.