], Diego Buñuel has been a foreign correspondent for French television[clarification needed] covering countries like Iraq, Afghanistan, or the Congo.
[1] Don't Tell My Mother criss-crosses the globe as Buñuel stops in burgeoning mega-cities – some plagued by the overwhelming demands that come along with housing millions of residents.
Despite the rampant civil war dividing the country, Colombia has made steps forward – in Picalena Prison, one warden has helped unite right-wing paramilitaries with left-wing guerrillas through an unlikely tactic: soccer.
From the Kabul golf course, to a female Army helicopter pilot, from an interview with Mullah Omar's look-alike who spent two years in hiding, to the first night-club open to Afghanis, Buñuelexplores stories about a country that many have tried to boil down to burkas, bearded fighters and poppy harvests.
Even in Pyongyang, the signs of repression are omnipresent – from the number of dances allowed to be performed (only 5–7 according to one party member) to the images of Kim Jong Il found in every corner.
We meet a printer of the Martyrs of Gaza; Nadim, a Christian brewer in Ramallah; Lucy, who rescues Palestinian donkeys and tries to rehabilitate them; and rappers at a Gazan bachelor party.
But while government-enforced low costs have made gas unbelievably cheap for Venezuelans – just a few cents per litre – regulations have caused massive food shortages.
In the countryside of San Felipe, agrarian reform is putting land back into the hands of the people with former sugar cane workers kicking out their former bosses.
High in the Venezuelan Andes, Buñuel follows two volunteers who bring a mobile library by mule to help families attending school in the mountains.
He finds the stock market is not the only business in Iraq that is thriving – gyms are seeing a significant increase in memberships as men flock to gain muscle in hopes of getting a well-paying job in security.
He witnesses a 1,300-year-old burial ritual at one of the world's largest necropolises with millions of people buried in Najaf, and also visits a torture museum in Sulaymaniyah to remember atrocities committed against Iraqi Kurds.
At Tehran's Museum of Contemporary Art, Buñuel examines works of Picasso, Jackson Pollock, Andy Warhol, Monet and more – all of which have remained in basement storage since 1979.
In Serbia, he takes a guided tour of hangouts where alleged war criminal Radovan Karadzic went incognito before visiting one nostalgic Serb who has recreated Yugoslavia in his own backyard – even presenting Buñuel with his own Yugoslav "passport".
Buñuel explores Lagos to find out why lots of newcomers arriving the city every day despite its problems of traffic jam, poverty and pollution.
Buñuel enters the sewers and runs from canine immigration agents to discover just how creative the residents of Ciudad de Mexico really are.
Buñuel mingles with graffiti artists and dodges bullets to search for a common thread that unites the extremes of rich and poor in São Paulo.
Manila faces some of the world's worst urban problems but Buñuel quickly finds out there is an energetic and quirky side to city and its people.