On a way of closing the celebrations of the first decade of life of the project Sean Riley & The Slowriders, now appears this documentary. Afonso Rodrigues and several members of the band are present, telling the story inside the songs.

If you lived in Flint Michigan, USA in the 80s, you likely worked in an auto factory. If you lived in Birmingham, England in the 80s, you likely worked in an industrial setting. If you were a teenager in either of these cities during those years, you either accepted your fate or broke the mold. In defiance of tradition, groups of punk rockers and metal-heads in these respective cities created a new sound, and consequently a new genre of music, that was too punk for metal-heads, and too heavy for punks. 

Grindcore fused the anarchistic and leftist attitudes of the UK Punk scene with the speed and drunken aggression of Death Metal, which was simultaneously being created in the US. When Napalm Death released ‘Scum' in 1986, world-renowned BBC DJ, John Peel, announced that ‘Grindcore’ was the fastest and most abrasive sounding music imagina-ble, and he was right. Immediately musicians were torn. Many believed Grindcore to be an anticapitalistic, cathartic blast of jokingly short songs. Lyrics were often aggressively pro-life, anti-homophobic and anti-racist. While others inverted the genre with the hopes of becoming as offensive as possible when it came to band names and lyrical content; likely a 'fuck you' to the mainstream.  Slave To The Grind is the first documentary on Grindcore to capture the genre's 35 year life span. The film takes you to Japan, the United States, UK, Australia, Singapore, Fin-land and Sweden to discuss why the genre has persisted, and changed, over time.

The Festival Aleste invited Paus to go to Madeira Island and be part of an artistic residence (September 2017) with the intention of recording the video clips of the new album and documenting the stay on the island and the result is this. To watch full screening on Talkfest'19.

Director, photographer and artist embarked on a trip through the Californian desert and the result is a film that is both a road movie and a false diary in super 8mm. It describes the path of a man who does not run away or hide, simply walks into nothingness, seeks to be nothing. During this crossing, Paulo Furtado composed part of his most recent album, "Misfit".

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