Director: Razibul Hossain & the Students of Media Studies and Journalism.
Bangladesh has been branded as a disaster prone country around the world. Natural disaster like tornado, cyclone, and flood were the main topic to discuss for Bangladesh. Reminding this scenario, a group of university students along with their teacher starts exploring the coastal belt area of Bangladesh with the concept "Disaster" by their film. They went to experience the most disaster prone communities of Bangladesh - "Mirzagonj" where 90% community people were affected by the Cyclone Aila and "Pathorghata" 100% people affected by the Cyclone Sidr. While on their journey, they meet resilience people who are not only survived nature's fury but also surmounted it. This interaction between students and the community people creates a dialog that motivates them to tales of awe, vulnerability, loss, agony, strength, faith, inspiration and unity.

Director: Razibul Hossain.
An old man, Zoology Professor Kuhel Ahmed, faces death. The things happening in his life is quite normal for anyone. But, how is it to himself? What happens to his inner self, in his consciousness, in his thoughts at that moment in life when the living people are wistful about their long life and the dead are only memory to him? He is a loner in the middle of a bridge; helpless in his tension. All barriers of control break loose; things fall apart for him. Professor Ahmed is not a psychologically challenged person. He is absent-minded, reticent as a character. However, thoughts are not always limited to expression only. Thoughts are restless, always on the move. Professor Ahmed looks back into the satisfactions of his life’s achievements as well as the real pictures for all his shortcomings. He is nostalgic as the certainty of end of life awaits him. Professor Ahmed is single as he defies leaving behind a generation. He knows all the patterns of human diversity like his palms. Life, to him, is nothing but carrier of a mathematical progression. This belief popped into him through the practices of science. He knows beyond this belief human race is going through this progression as they try to mask the superstition of heredity and surroundings. Therefore, he argues at the close of his life. Life’s meaning as well as absurdity equally fights within him. Such inner conflict is apparently unseen, unreal. But in man’s own world it is evident and real. This feature film tries to explore that real image of the human race crossing the limits of individuals. Memory and present; everything becomes contemporary. Insights into life is framed in every millisecond.

Director: HORACI GARCIA, ORIOL FAURA Y JAVIER URTASUN.
SUPERZEBRAMAN, a documentary about how to make the first Spanish Nigerian production of the history without having a clue. The scene: Nollywood, the Nigerian film industry that produces the largest number of films in the world, over the powerful Hollywood and Bollywood industries. A concept of the cinema in which the movies are rolled in two weeks and for less than 20.000 dollars, accessibly a priori and which Javier Urtasun believed attainable. The thing is that this special look to the seventh art definitively is a world full of possibilities, or at least this was what Javier Urtasun thought.

Born in agreement to the requirements of script of the Nigerian industry, SUPERZEBRAMAN (The movie) counts the history of a man who changes the color of his skin thanks to the power of the zebras. An ambiguous starting point that constitutes the first step of a way riddled with anecdotes gathered in this delirious documentary.

Probably after seeing the documentary we will understand why this first Spanish Nigerian film was never done before: it is necessary to have testicles. Great ode to life and to the dreams that it we should never stop fulfilling, in SUPERZEBRAMAN (The Documentary) you realize that though the producer is drunk and the director does not appear, the important thing is to know that the perimeter is defended by a good number of AK47.