Vincent Carelli is a filmmaker and indigenist. In 1986, he created the Video nas Aldeias Project, an institution that supports the struggles of indigenous peoples to strengthen their identities and their territorial and cultural heritage through audiovisual resources. Since then, Carelli produced a series of sixteen documentaries about the methods and results of this work, which have been shown worldwide. A Arca dos Zo’é (Meeting Ancestors), from 1993, one of his first films, was awarded in several festivals, including the 16th Tokyo Video Festival and Cinéma du Réel. In 2009, Carelli released Corumbiara, about the massacre of isolated Indians in the state of Rondônia (Brazil). It won the 37th Festival of Gramado. Corumbiara is the first film of a trilogy, currently in development, that brings Carelli's own testimony of emblematic cases experienced during 40 years of indigenous movement in Brazil. Martírio is the second film of this series, which ends with the completion of the film Adeus, Capitão! (Farewell, Captain!), a work in progress.

Filipa César is an artist and filmmaker interested in the fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent to the moving image. Since 2011, she has been looking into the origins of the cinema of the African Liberation Movement in Guinea Bissau, as a laboratory of resistance to ruling epistemologies. César premiered her first feature-length essay film, Spell Reel, at the Forum section of the 67th Berlinale, 2017. Selected exhibitions and screenings have taken place at: São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010; Haus der Kulturen der Welt, Berlin, 2011–15; Jeu de Paume, Paris, 2012; Kunstwerke, Berlin, 2013; SAAVY Contemporary, Berlin 2014–15; Tensta konsthall, Spånga, 2015;  Mumok, Vienna, 2016; Contour 8 Biennial, Mechelen and Gasworks, London, 2017.

Kevin Jerome Everson was born in Mansfield Ohio, in 1965. He has a MFA from Ohio University and a BFA from the University of Akron. He is a Professor of Art at the University of Virginia in Charlottesville, Virginia.  He has made over 130 films, including Tonsler Park (2017), Park Lanes (2015), The Island of Saint Matthews (2013), Erie (2010), Ten Five in the Grass (2012), Ears, Nose and Throat (2016), Stone (2013), Century (2013), and Fe26 (2014). He also has two DVD box sets: Broad Daylight and Other Times and I Really Hear Something: Quality Control and Other Films, distributed by Video Data Bank. Everson’s works have been shown at Sundance Film Festival, Berlin Film Festival, International Film Festival Rotterdam, Oberhausen Film Festival, Venice International Film Festival, Toronto International Film Festival, New York Film Festival, Museum of Modern Art, Whitney Museum of American Art, Tate Modern, National Gallery in Washington DC, and Centre Pompidou in Paris.  The work has also been recognized through awards and fellowships, including a Guggenheim Fellowship, an Alpert Award, a Creative Capital Fellowship, and an American Academy Rome Prize. Everson is represented by Picture Palace Pictures New York, and Andrew Kreps Gallery New York.

Dominic Gagnon is a filmmaker, installation and performance artist who works with non-orthodox images taken from the Internet. In addition to questioning the specificity of cinema, his work breaks conceptual and formal frames. By these twists, his practice challenges the institutional and cultural modalities of production and consumption of images. Since 1996, his work insists on various themes: mythologies, marginal production of the image and its censorship, the conditions of mediation between the work of art and its spectator.

Laura Huertas Millán is a Colombian-French filmmaker and artist. Her films have screened in cinema festivals (Torino, Ficunam, Cartagena, Curtas Vila do Conde, Tampere, Winterthur, Videobrasil, Bienal de la Imagen en Movimiento...) and art venues (Museo de Arte Moderno de Medellín, Laboratoires d ́Aubervilliers, Museo de Arte Moderno de Buenos Aires, LABORAL Gijón, Lugar a Dudas, Villa Arson...). Her latest film Sol Negro (2016) was awarded a Special Mention of the Grand Prix in the French competition FIDMarseille 2016; a Grand Prix Honorable Mention at Doclisboa 2016; the Best short film award at Fronteira Festival 2017; and was part of Neighbouring Scenes: New Latin American cinema 2017 at the Film Society of Lincoln Center in New York. Recent solo exhibitions include Ficción etnográfica (Ethnographic Fiction) at Museo de Arte Moderno de Medellín (Colombia), and Disappearing Operations, a solo nomadic and immaterial exhibition held between les Laboratoires
d ́Aubervilliers, a cinema hall (Le Méliès), and Beaux-Arts de Paris (France).

Trinh T. Minh-ha is a filmmaker, writer, composer, and professor of Rhetoric and of Gender & Women’s Studies at the University of California, Berkeley. Her work includes eight feature-length films honored in numerous retrospectives around the world: Forgetting Vietnam (2015), Night Passage (2004), The Fourth Dimension (2001), A Tale of Love (1996), Shoot for the Contents (1991), Surname Viet Given Name Nam (1989), Naked Spaces (1985), and Reassemblage (1982); several large-scale multimedia Installations, including L’Autre marche (Musée du Quai Branly, Paris 2006-2009); Old Land New Waters (3rd Guangzhou Triennale, China 2008, Okinawa Museum of Fine Arts and Prefecture Museum 2007); The Desert is Watching (Kyoto Biennial, 2003); and numerous books, such as Lovecidal. Walking with the Disappeared (2016), D- Passage. The Digital Way (2013), Elsewhere, Within Here (2011), Cinema Interval (1999), and Woman, Native, Other: Writing Postcoloniality and Feminism (1989), Her many awards include the 2014 Wild Dreamer Lifetime Achievement Award at the Subversive Festival, Zagreb; the 2012 Lifetime Achievement Award from Women's Caucus for Art; the 2012 Critics Choice Book Award of the American Educational Studies Association; the 2006 Trailblazers Award, MIPDOC, the International Documentary Film in Cannes, France; and the 1991 AFI National Independent Filmmaker Maya Deren Award.

Sana Na N'Hada was born in Enxalé, Guinea-Bissau, in 1950. He studied at the Cuban Institute of Cinematographic Arts and Industries (ICAIC). On his return to Guinea, Sana filmed the war of independence. After independence, in 1976, he co-directed two short films with Flora Gomes: The Return of Cabraland Anos no assa luta. In 1978, he made his first short film, The Days of Ancono. During the 1970s and 80s, he worked on many films, including Sans soleil, by Chris Marker, and Mortu nega, by Flora Gomes. In 1984, he made his second short film, Fanado. Since 1979, he is director of the National Film Institute of Guinea Bissau. Xime is his first feature film.

Peter Nestler (b. 1937) has made over 60 films. In 1966, after completing his first films in Germany, where they met with profound lack of appreciation, he emigrated to Sweden, where he went on to make more than 50 productions for television. Since the 1990s, he has completed a wide range of works which have continued to enrich his documentary explorations with new sensibilities and tonalities. Jean-Marie Straub once strikingly characterized Peter Nestler as a “Documentarian Not Reconciled”. Here is a filmmaker, he suggested, who does not seek to capture reality to make it correspond to preconceived conceptions. He simply attends to what is before him: to people and their everyday environment, their roles in processes of production and change, their testimonies of injustice and resistance. Most of all, he lets people speak, rather than speaking for them, putting confidence in what they have to say, rather than reiterating what they are expected to say.

Laura Poitras is a filmmaker and artist. Her film Citizenfour, the third part in a trilogy about post-9/11 America, won an Oscar for best documentary, as well as awards from BAFTA, Independent Spirit Awards, and the Director’s Guild of America. Part one of the trilogy, My Country, My Country, about the occupation of Iraq, was nominated for an Oscar and Independent Spirit Award. Part two, The Oath, about Guantánamo Bay Prison, was nominated for two Emmy awards. Her reporting on NSA mass surveillance received the George Polk Award for National Security journalism, and shared in the 2014 Pulitzer Prize for public service.Her first solo museum exhibition of immersive installations, Astro Noise, was presented at the Whitney Museum of American Art in 2016. Her most recent films include Risk, following WikiLeaks and Julian Assange over six years, and Project X, about a mysterious windowless building in lower Manhattan, co-directed with Henrik Moltke. She is a co-creator of Field of Vision, a visual journalism project that commissions and supports short-form and feature films about urgent global issues. She is currently suing the U.S. government to learn why she was placed on a terrorist watchlist in 2006.

Eduardo Williams (b. 1987, Argentina) studied at the Universidad del Cine in Buenos Aires, before joining Le Fresnoy – Studio national des arts contemporains in France. His first short films were set in his home country of Argentina, but his more recent works were shot in various locations across the globe. The uncertainty of travelling and the spontaneous connections made in unfamiliar contexts have become a central part of his filmmaking process. Williams’ short films, Could See a Puma (2011) and That I’m Falling? (2013), premiered at Cinéfondation and Director’s Fortnight at Cannes Film Festival. They were followed by Tôi quên rồi! (I Forgot!, 2014) which had its premiere at FID Marseille. Retrospectives of his short films have been organized at the Cinémathèque Française in Paris and at Valdivia International Film Festival in Chile, among other places. His first feature, The Human Surge (2016), won the Filmmakers of the Present prize at the 69th Locarno Film Festival and was later shown at Toronto International Film Festival - Wavelengths, New York Film Festival - Projections, Tate Cinema, Viennale, and Mar del Plata International Film Festival.