Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.

A short documentary focusing on the surfer culture and tourism in Nicaragua.

Looking for a few reasons why you should visit Nicaragua? Considering the country's two incredible coastlines, almost 20 volcanoes, lively colonial cities, abundant wildlife, rich culture, and delicious food, it won't be hard to convince you to put “visiting Nicaragua” at the top of your travel bucket list! Nicaragua, set between the Pacific Ocean and the Caribbean Sea, is a Central American nation known for its dramatic terrain of lakes, volcanoes and beaches. Vast Lake Managua and the iconic stratovolcano Momotombo sit north of the capital Managua. To its south is Granada, noted for its Spanish colonial architecture and an archipelago of navigable islets rich in tropical bird life.

A portrait of a remote area in the rural north of Nicaragua facing difficulties with the revolutionary process. It follows Marlon Stuart, the regional FSLN political organiser, at the time of the 1984 elections.

Shot in 1983–84 and focusing on the work of the Historical Institute, this film witnesses how Nicaraguans are recovering their history, the memory of Sandino’s struggle, to transform their sense of identity.

Alan is an anxious and unhappy man. Thanks to his work, his life has become more and more sad and miserable. A visit to the psychiatrist could be the solution to all his problems.

How can a country survive when its jungle borders hold 4000 hostile troops?

Plastic artist Aparicio Arthola talks with his student about the catarsis in his creative process, the loss, death and uncertainty of art life in Nicaragua

An audiovisual self-portrait

This dramatic story follows a young Nicaraguan immigrant, Irene, as she faces the challenges of life in the U.S. and re-evaluates her relationships with her boyfriend and family. "After the Earthquake" explores the immigrant experience, particularly the cultural, political and economic differences between life in North and Latin America.

American resort developers bear down on the wild west coast of Nicaragua, hoping to build the next tourist paradise. With lax labour and environmental regulations, some of the developers take full advantage of the situation, and the local fishermen start accusing them of exploitation and land thievery. Unexpectedly, in the midst of this conflict, firebrand Daniel Ortega and the Sandinistas sweep back into government, boldly empowering the local fishermen. The tables turn viciously on the American developers, who get much more than they bargained for. But when the local fishermen, corrupted by new found power, begin acting in the same manner as the American developers, questions are posed about human nature, morality, and ethics on a much larger scale.

Christian, Finn and Moritz became addicted to drugs as teenagers. In 1999, the film "Bismuna - Ein Abenteuerfilm" was made about the three teenagers and their counselor as they traveled to an indigenous tribe for the drug cure. Now, some 10 years later, it shows what the men have done with their lives.

In the mid-1990s, Dieter Dubbert accidentally ends up with the Miskito Indians in Bismuna, Nicaragua. Here he begins to work with drug-addicted and delinquent young people from Germany who would otherwise disappear into homes and prisons.

A powerful three-part documentary studying the US involvement in Guatemala, El Salvador and Nicaragua. The differing factions - Sandinista leaders, Guatemalan campesinos, CIA operatives, Contras and US government apologists - are interviewed and, in the absence of a controlling narration, the audience is encouraged to draw its own conclusions.

Sixteen female sex workers have been named judicial aides by Nicaragua’s Supreme Court to facilitate the resolution of conflicts that come up in their work. It is the first time in the world that sex workers have had access to this function. The film accompanies some of these women in their mediation work and in the actions they promote through their association, Girasoles (Sunflowers) of Nicaragua, to gain recognition and regulations for autonomous sex work.

The film is about aftermaths and reckonings. Revisiting material for his earlier 4-part series, Karlin returns to Nicaragua to examine the history of the Sandinista government, consider its achievements, and assess the prospects for democracy following its defeat in the general election of 1990.

DREAMING NICARAGUA is a film about HOPE. It's about love for the dignity and courage of the human spirit that, even immersed in uttermost tragic conditions, fights for a better life, and in this case, with a friendly SMILE. DREAMING is a sensitive and lyrical portrayal of four children living in extreme poverty in Nicaragua. The film takes us beyond their hardships and gives voice to the youngsters, who are surprisingly funny, hopeful, and optimistic. A traveling art teacher provides a safe arena for our four unlikely protagonists to express their innermost thoughts. When painting, the kids momentarily escape the stresses of their reality into a world of dreams and ideas, a stark contrast to their lives outside: a vicious cycle of hunger, child labor, and violence. Despite the extreme circumstances, the children and their families face their lives with an inspiring unity, strength and humor.

Halouver is a small community in the Northern Caribbean of Nicaragua. In November of 2020, two hurricanes divided the village in two and destroyed its infrastructure. Now, its villagers must decide between coming back and rebuilding their homes from the rubbles in spite of the risks that conveys or starting their lives somewhere else, leaving behind their lives in front of the sea. This documentary was made by Hora Cero.

Composed of stills by renowned Magnum photographer Susan Meiselas taken in 1978 and 1979 during the overthrow of the fifty-year dictatorship of the Somoza family. Written in the form of a letter from Meiselas to Karlin, it is a ruminative and often profound exploration of the ethics of witnessing, the responsibilities of war photography and the politics of the still image.