Kantfish desde hace 17 años escribe, dirige, guioniza y produce reports, documentales largometrajes y cortometrajes, no-fiction shortfilms, vídeos oficiales y fotografías documental, en medios y en arte.

Ha producido y colaborado con/para:

FAO Food and Agricolture Organization
ONU United Nations
UnWater – World Water Day
Utawaleza Project (Malawi)
Médicos Sin Fronteras (Doha Malawi)
Cooperazione Italiana (Sri Lanka)

Feltrinelli editores

Il Messaggero
Rolling Stonem España
L’Espresso – La Repubblica
El País Semanal
XL Semanal
Foreign Policy
Corriere della sera – Web
The Report
Peninsula Press
Lunwberg editores – Grupo Planeta

Photo Agencies
Contacto Agency
AP Associated Press

Rai 1 – Unomattina

Rai 3 – Cominciamo bene 
La7 – Effetto domino faccia a faccia con Roberto Colaninno
Sky News 24

Radio Uno – Imbarco Immediato
Radio Due Rai – Ferenheit
Radio 24 – Cuore e Denari
Radio 24 – Salvadanaio
Radio 24 – Destini Incrociati

Marcas / Agencias 

Swolf Event
Fcb Global
Ikea – Milano Fashion Week
Hendrick’s Gin (Enajenatorium)
Madrid Fusion
Trinity CollegeCirculo de Bellas Artes Madrid
Kuwait Investment Outreach

Instituto Cervantes

Galeria Cero  – Efti
Espacio Unonueve – Efti
4D/Arty- Eva Ruiz




























ALCINE International film festival – Alcalá de Henares – Madrid – Spain
HAI VISTO MAI – Documentary Film Festival – Italy [Luca Zingaretti director (Commissario Montalbano)]

Petaluma International Film Festival California USA
Queen City Film Festival – USA
Viewster Film Fest –  Switzerland Germany – WINNER Audience Award
Los Angeles CineFest – USA
Three City Film Festival – New York, Los Angeles, Santo Domingo
TISFF Tyre International Film Festival – Lebanon
On The Line Film Festival – USA
Tomacine Music Film Festival – Spain
ENMUT International Film Festival Barcelona – Spain
Ko&D[GITAL. Festival Internacional de Cinema SociaLi. Solidari. Barcelona – Spain
Jump The Cut – Singapore
International Green Culture Festival – Belgrado – Serbia
Ventura Winter Take 1 – California – USA
Namur festival Nature – France
Ficae International Festival Cortometraje – Spain
Paris PLZ – France
IFFEST Docmuent.ART XXI – Bucharest – Romania
Animarte! Festival animación – Brasil
C-FEM Festival Cine Fantástico Europeo – Murcia – Spain
Voices From Water Festival – National Gallery of Art – Bangalore, India








A day in Athens lived with the actress Alexandra Aidini, lead actress in the film “The weeping meadow” by the director Theo Angelopoulos.

Opinions, experiences, the amazing life of a city that is changing under the blows of the crisis.
Athens is becoming a nervous city, sad, hungry.
The interviews of the most important woman of Greece, and the real life of artists, entrepreneurs, experts, normal people, show how the opulence of the Greek capital is transforming into extreme

An unbelievable situation and a human emergency in the middle of Europe. South of Europe vs North Europe. Greece vs Germany. Pessimism vs the new positive view that reconsider the existence without the necessity of materialism.
The documentary comes from the investigation of Emanuele Giusto and Gianni Perrelli, one of the most experienced reporter in Italy with global reach, signature of the magazine L’Espresso.
The most important woman politician of Greece, and citizens, artists, experts show in the documentary how the opulence of the Greek capital would be transformed into extreme poverty.
The catchy rhythm that accompanies the doc is the result of the professionalism and generosity of some of the most prominent artists of the greek scene.

KANTFISH.com production
Reporters Emanuele Giusto and Gianni Perrelli
Directed shot & cut by Kantfish
Music Tsimis Panousis, Kostis Maraveyas, Ernest, DDGproject.com,


“Nobody like Athens” was born from the need to emphasize a new aspect of the economic crisis in Greece.

We set out to discover the face of everyday life in Athens in 2013. We did it by following the real life of the actress Alexandra Aidini, star of the “The Weeping Meadow” by renowned director Theodoros

We want to show the Greek reality – in many cases extremely tragic – in a new way: with style, with strength and in some cases even with the contrast of a smile. Computer graphics and animations
further enrich our understanding of the present.

Anyone who has not been in the Greek capital does not really know what life is like in Athens. A few years ago, nobody could have
imagined that the wealth of the Greek capital during the Olympics would become absolute poverty.
Athens teaches us that in difficult times we must learn to live in
solidarity. And in some cases, this situation helps us to realize dreams that would seem impossible if the economic situation was

In the documentary we consider important points of view of
experts, prominent politicians, entrepreneurs, artists and “normal” people, the citizens. Our investigations are the result of research and in-depth analysis of two of the most important Italian
reporters, Emanuele Giusto and Gianni Perrelli, one of the most
experienced international staff reporters of the magazine L’Espresso.

In Europe, discussions center on austerity measures, while the Greek people and the countries of the Mediterranean are forced every day to come to grips with a new unacceptable reality. Theresponsibility belongs to everyone, the errors are obvious, but the common fault cannot be an excuse to sink the Mediterranean people.


Shortfilm – Non-Fiction – Thriller – Horror


Te sentiste solo alguna vez?

El miedo. Algo tan inherente al ser humano que se manifiesta ya en su propia infancia. Como los dos niños de La noche del cazador (Charles Laughton, 1955) ante la inquietante presencia del falso predicador en cuyos nudillos de ambas manos tiene escritas por separado las palabras amor y odio. Un binomio que flota en la atmósfera de ALMAmATER, en esa suerte de itinerario interior que recorre una niña sin ser consciente de hacerlo, aunque esos sentimientos que afloran en ella la lleven a tratar de visualizarlos, de expresarlos como mejor sabe hacer. Un grito mudo que parece resultar imperceptible ante los demás pero que ella va materializando a través del gesto, del dibujo, la mirada, como cuando contempla esa gota en la secuencia tarkovskiana del vaso. La niña se revela contra el mundo tratándose de fabricar otro, a su medida, ante el temor de verse desplazada de su minúsculo microcosmos que para ella es el centro del universo, el que le da seguridad y el que ve amenazado.

Pero tampoco hay intención de dar una explicación, aunque el film esté basado en una historia real y muestre unos hechos desde la perspectiva del documental. El ser humano es un ente complejo en el que no entra el mundo de la lógica. Por ello, la cámara tan solo se limita a captar lo que sucede en esa atmósfera impregnada de emociones, observando a su protagonista, pero también los objetos, sus objetos, reflejos físicos de su existencia, como dejó patente John Huston en Dublineses (1987), cuando la anciana entona una canción y muestra, mientras ella canta, los enseres que han formado parte de su vida, el único testimonio visible que define su biografía. Estas ideas y otras muchas más flotan en las imágenes de ALMAmATER pero son cuestiones que se han dejado abiertas, para que cada uno saque sus propias conclusiones. Como dijo Luis Buñuel en su libro “Mi último suspiro”,, cuando le preguntaron en una rueda de prensa que era lo que contenía la caja que un oriental muestra al grupo de las chicas del prostíbulo: que cada espectador  deberá interpretarlo a su manera .


Did you ever feel alone?

Fear. Something as inherent in human beings that is apparent in the childhood. As the two children of The Night of the Hunter (Charles Laughton, 1955) at the disturbing presence of the false preacher whose knuckles of both hands have written separately the words love and hate. A binomial floating in the atmosphere ALMAmATER. A silent scream that seems to be invisible to others but the little girl materializes through gesture, drawing, eyes, as when she contemplates the drop in a glass in a tarkovskian sequence. The girl rebels against the world to imagine and create a new one, for fear of being displaced from its tiny microcosm that for her is the center of the universe, which gives her security.

But there is no intention to give an explanation, although the film is based on a true story and show some facts from the perspective of the documentary. The human being is a complex entity which does not enter the world of logic. Therefore, the camera is limited to only capture what happens in that atmosphere permeated with emotions, watching his protagonist, but also objects, her  objects, reflections of his physical existence, as made ​​clear John Huston in “Dubliners” (1987), when the old woman sings a song and he shows while she sings, the goods that have been part of her life, the only visible evidence that defines her biography. These ideas and many more are floating in the images of ALMAmATER, but they are issues that have been left open, for everyone to draw their own conclusions. As Luis Buñuel they said in his book “My Last Sigh”, when asked in a press conference that was what the box contained an oriental group of girls brothel: each viewer must interpret in his own way.

World Water Day – Official Vídeo
for FAO Food and Agricolture Organization – United Nations


World Water Day 2012 official video, focusing on the theme of the campaign “Water and Food Security”.
Directed and Produced by kf@kantfish.com and featuring a soundtrack by DDG Project. Animations by antiestatico.com
Download your animation on: http://www.unwater.org/worldwaterday


for FAO Food and Agricolture Organization – United Nations

World Water Day 2012 official video, focusing on the theme of the campaign “Water and Food Security”.
Directed and Produced by kf@kantfish.com and featuring a soundtrack by DDG Project. Animations by antiestatico.com
Download your animation on: http://www.unwater.org/worldwaterday


Around 70% of the poor in sub-Saharan Africa and South Asia are rural, and agriculture is often their only livelihood opportunity. Proper irrigation technologies could help them do better in terms of productivity and income.

This 3-minutes animation illustrates the impacts of access to motor pumps for irrigation on farmers’ livelihood, food security and poverty reduction.

It shows where to invest, because in sub-Saharan Africa, investments in motor pumps could benefit 187 million people and generate net revenues of USD 22 billion a year.
Animation produced by Kantfish Production with an original soundtrack by DDGProject.com for FAO in the framework of the AGWATER Solutions project.