The life of a young girl who plays with little animals and insects is suddenly changed with the arrival of a film crew and a strange man.

Filmmaker José Luis Guerin documents his experience during a year of traveling as a guest of film festivals to present his previous film. What emerges is a wonderfully humane and sincere portrayal of the people that he meets when he goes off the beaten track in some of the world's major cities.

In a peripheral neighbourhood, where the rural and urban worlds meet, the houses of the first migrants who arrived after the post-war period coexist with the new blocks of the dormitory city, where the latest wave of migration is concentrated. This humble corner is now an authentic global village. Good Valley Stories is a sum of constructs, of social, generational and identity, urban and ecological conflicts, but it is also a calm and humanistic look at today’s world.

A medium-length film that takes the central place in the video installation "The Lady of Corinth". In both the medium-length film and the installation, Guerin delves into the relationship between cinema and painting based on Pliny the Elder's account of the invention of painting.

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

This remarkable companion piece to In the City of Sylvia offers a compendium of images recorded by Guerín in Strasbourg while searching for the traces of a (fictional?) brief encounter some years earlier with a young woman named Sylvia.

迫于改革计划的压力，在一片城区里开始了居民楼群的建筑。“当这里还是年轻人们的足球场地的时候，我们就住在这，我们想要知道这新建筑的特性。在这片土地上，我们找寻到了和睦相处、相互认识以及互相串门的方式。这建筑以及周围的一切使我们有了乐趣。在建筑过程中，我们可以发现都市风景的变化同时可以折射出人心的变化。而在这变化中，可以观察到世界的回应。在这个基础上，我们拍摄了这部影片。”

A silent homage to the origins of cinema, recreating the apparent disappearance of a French photographer in the 1920s. Experimental.

A man returns to a city to try to track down a woman he met six years earlier.

On returning from class, a teacher is questioned by his wife, who distrusts his pedagogic project: an “Academy of the Muses” inspired by classical references, which is supposed to contribute to regenerating the world through poetry. The controversial project triggers a series of situations dominated by words and desire.