[3] He has collected his in-depth interviews with Peter Kubelka, Malcolm Le Grice, Ken Jacobs, Taka Iimura, Phil Hoffman, and Bill Brand in Emotional Materials / Personal Processes.

[9] He has filmed in Nicaragua (Os waslala, 2005), Western Sahara (Asahra hurratun!, 2009), Zimbabwe (Tanyaradzwa, 2009) and Colombia (A realidade, 2012), but has also reflected on the political problems of Galicia as in Faustino 1936 (2010) and A quem se lhe conte... (2011), which deals with the environmental disaster produced on the Galician coast by the oil spill from the Prestige tanker.

[10] The inverted chromatism and the "depressed landscapes" of A quem se lhe conte... remind us of the aesthetics of the paintings by Anselm Kiefer and Daniel Richter.

As., modelled after Chantal Akerman's News from Home,[2] is "a forceful and, at times, enigmatic work", a collage of past and present, of Europe and America, of documentary and experimentalism,[16] in which Pagán recovers the oral history of his family, broken apart by emigration.

[20][21][22] Its dual composition, which would be retaken in other NGC films like Tanyaradzwa, Todos vós sodes capitáns (Oliver Laxe, 2010) and Costa da Morte (Lois Patiño, 2013), also helped shape Xurxo Chirro's Vikingland (2011).

[27][28] His three-hour-long, double screen Tanyaradwa, filmed in Zimbabwe, was defined as "anti-anthropological"[29] and "antiethnographic", so as to avoid any temptation of an orientalist reading.

[29] Tanyaradzwa, influenced by Andy Warhol's cinema, opts for "disintermediation" and direct communication with the audience, outside of commercial modes of production and established distribution circuits.

The decay and apparent abandonment of its façade contrasts with the smoke coming out of the chimney, which reveals life inside the ruins.

[38] Uluru, winner of the Galiza Award in the Curtocircuito International Film Festival,[39] connects with the cosmopolitan vocation of the New Galician Cinema, but can also be read as a vindication of the right to self-determination of both the Australian aboriginal peoples and those of Galicia.

Part of the ongoing Proxecto Remolque (Project Trailer) coneived by Cris Lores, A mosca proves "the impossibility of replicating what has disintegrated".

[49] Long Face and Sonho bolivariano, which inaugurated the series "surfaces", are projected onto a carbon portrait and onto a layer of mold, respectively, to highlight "the physicality of the image".

Nyaungshwe projects the image of a woman onto her own naked body; its pictorial nature and its "close and inaccurate sensuality" are reminiscent of the paintings of Francis Bacon and Lucien Freud.

As a result, "the photographic image serves as a documentary base to then be dismantled into painting" and "triggers different sensations through texture, color, concealment and unconcealment of form".

[51] Alberte Pagán has translated the first two chapters of James Joyce’s Finnegans Wake[52][53] and the first and last sections of Andy Warhol's novel a[54] into Galician.

Contrary to what is usually thought, Pagán has argued that "to say that [Finnegans Wake] is untranslatable is to say that it is illegible", and as it is legible, it follows that it can be translated.

[57] He self-published the poetry book Prosopagnosia (2013), a combination of "poetic avant-garde and political manifesto",[58] and the novels Percorridos por unha teoría do desexo (2015) and Jalundes (2022).

37 from Prosopagnosia, “Vim mais do que esperava”, was dramatized by AveLina Pérez in her theatrical production of Campo de covardes in 2016.