Playlist
<p>A poetic allegory of the filmmaker Lemohang Jeremiah Mosese’s childhood, an ode to cinema and an inner nod to his mother. Through fragmented narratives and mythic imagery, Mosese crafts a haunting reflection on dislocation and belonging.</p>
<p>After nights of heavy partying, a trans performer goes to the Botanical Garden of Lisbon to get sober again.</p>
<p>A film looking at the past to warn about the future, from a little boy’s point of view. A companion to ‘American Dreams (lost and found)’ (1984)</p>
<p>Marcia Tiburi and Jean Wyllys, Brazilian activists, exchange letters reflecting on the reasons that compelled them to leave Brazil. Their reading of these letters, while still in exile, reveals a lot about the rise of the far-right in Brazil, but also about themselves.</p>
<p>On the wild banks of a river in the Cévennes, Philip and Tristan restore the irrigation system of a 17th-century water mill. Following the water’s path, they work together, pausing, resting, and sharing moments of calm.</p>
<p>Once a symbol of Yugoslavia’s progress, Sava Centar was left to deteriorate since the country broke apart. Piece by piece, the interior elements that resided in this cultural and congress centre since the 70’s are torn out.</p>
<p>Reverie and observation forge relations among a fire lookout in California and a landscape painter in London — with a concern for how media technology impacts representations of forest fires and the experience of witnessing with one’s own eyes.</p>
<p>Using found footage from the colonial archives of British Mandate Palestine (1917 – 1948) and audio recordings of Palestinian refugees in Lebanon, Partition brings forth histories that have long existed at the margins. Co-director of the Nakba Archive, Diana Allan, re-photographs colonial found footage on 16mm to powerfully resituate Palestinian presence through story, voice and song.</p>
<p>In Himachal Pradesh’s Kangra Valley, an ancient network of kuhls – hand-built water channels – carries water. The kohlis, “water masters,” struggle to protect this heritage, custodians of a way of life where water flows alongside folk tales, myths, and local arts.</p>
<p>As the Olympic Games approach, the city of Paris changes its face. In a city that oscillates between struggle and resignation, Aïda comes into the world. Not far from here, a woman has confined herself to her home.</p>
<p>In the 16th century, in a forest in the Cévennes in France, peasant women from many regions band together to fight the enclosure of common lands. A few centuries later, construction in the forest is under the watchful eye of Annie, a solitary 75-year-old night watchwoman.</p>
<p>After several years of absence, Gibran returns to Los Angeles with the goal of saving up to purchase land in Tecate, the village where he was born in Mexico. As he organizes his departure, he rediscovers the emotional and historical ties that bind him to the United States.</p>
<p>Mathilde Girard gives her friends Medea As Material, a short text by Heiner Müller and his take on the myth of Medea. In their tiny kitchens, at dinner or doing their ironing, they read it, recite it, talk about it, searching for Medea who, it seems, is nowhere yet everywhere to be found.</p>
<p>In 2020, Maxime spent time in a psychiatric hospital. This stay was marked by gentle and surprising encounters with the other patients. Now, Maxime invites his friend Guillaume, a painter and schizophrenic, to summon the presence of these patients. One tells his stories, the other paints.</p>
<p>This roughly sketched portrait is of the man who lives in the house. Alone, clearly, just as this is clearly no ordinary solitude, and a long period of drifting has made him a castaway, far away from the coasts of normal life.</p>
<p>Obsessed by a situation over which they have no control and nourrished by the press which talks of little else, Alice and Joana, obliged to remain confined to their home, question what is happening (to them), passing from humour to love to hope to anger.</p>
<p>On February 24th, 2022, Russia invades Ukraine. The news reaches the director, Rostislav Kirpicenko, in Paris, where he has been living for many years. The war raises questions about exile... In search of answers, Rostislav travels to Lithuania, where his grandfather settled, before returning to Dnipro, the Ukrainian town where he grew up.</p>
<p>For centuries, the Maroons in Suriname’s rainforest have kept capitalist society at bay. Descendants of enslaved Africans who escaped Dutch plantations, they have thrived by preserving their ancestral traditions. In recent years, however, economic interests have encroached upon their land.</p>
<p>In the bedroom of a small apartment, Luisa and her female cousins gather to talk about their dreams, their traditions and their desire for emancipation. For Luisa, flamenco has become a ritual and a place of freedom.</p>
<p>In 2012, as I was filming at the Saint-Louis hospital, I met Mahmoud who had been blinded and disfigured during the Egyptian revolution and who had come to France for treatment thanks to a humanitarian association. I filmed him over several months. Then he disappeared. What has become of him?</p>
<p>Shot in Georges Braque’s studio in Normandy, France, now overrun by nature, the story of my encounter with a bird straight out of the magic of fairy tales.</p>
<p>In a world where the boundaries between real and virtual are dissolving, Land of Têmêle, We Dêlême explores the wanderings of 222_stargirl, a young girl searching for her own humanity in a fragmented digital universe.</p>
<p>1989, I was 20 years old when I was diagnosed as HIV-positive. Together with Amel, Alice, Nicolas, and Eder—my sisters and brothers “in AIDS”—we share a piece of this common story. A story of rage and a fierce desire to live, a cry to finally break the silence. (Emmanuelle Bidou)</p>
<p>Actor and director Jacques Nolot opens up to the camera about his desires, doubts, anxieties… and of what fulfils him in life as much as it connects him with death. Between dreams and memory, everything seems to gradually crumble.</p>
<p>In Homage to Catalonia George Orwell recounts his involvement in the Spanish Revolution and Civil War. This book is haunted by images, which we find in the reports filmed by the anarchist operators of the CNT. The film aims to share Orwell’s experience in Spain through a new cinema experience.</p>
<p>Observation of landscapes and architectures surrounding the six deportation centers of Belgium combined with testimonies of imprisoned people raises questions about the limited perception that the Belgian government allows one to have of its violent border and immigration policies.</p>
<p>My uncle and his family live in Germany. Their temperature-controlled home is filled with foreign plants, disintegrating photographs, handwritten letters, surveillance cameras, scanners and music. From Berlin, he watches the sun rise every night in his hometown in Vietnam where his mother sleeps.</p>
<p>Many people died in the village of Ziglo, in western Côte d’Ivoire, during the 2011 civil war. Having waited too long for state justice, a native woman who had lost several members of her family decided to take the village’s destiny into her own hands by creating a space for women to speak out.</p>
<p>Benoît built his paradise hidden from view, emancipated in his own way, resolved to face the constraints of a space which, in imaginations, conflicts with his identity. The countryside. One day, he and other queers from the area decide to organize the first Pride of the Périgord vert.</p>
<p>How’s the Big Everything? Garba asks Nicole. For them, it encompasses family, politics, History, daily life, the stars, small things, and time passing like the wind. By delving into their memories, at the time of Niger’s independence, we come face to face with the complexity of the present.</p>
<p>An expressionistic portrait of Etel Adnan, immersed in her art and the world. Working without ego, Adnan asks, what does it mean to be alive, to live through catastrophe, to experience time.</p>
<p>A conversation between a daughter and her mother.</p>
<p>As my elder sister Jiao awaits childbirth in a pink maternity ward, speculation and expectation from women of four generations in my family superimpose and collide with their physical throes and haunting memories.</p>
<p>The title refers to a pond in Wuhan, China that local anglers frequent, but where they can’t catch any fish. The film depicts several individuals’ strange behaviors in public spaces and their internal struggles.</p>
<p>Don Quixote is resurrected in Marseille and sets out to fight fences, gates, private property rights and general segregation with his faithful squire, an ex-criminal pizza delivery man on a scooter.</p>
<p>Set in the Balane 3 neighborhood of Inhambane, Mozambique, this observational documentary unfolds through fixed 16 mm-camera vignettes. We witness daily life—fishermen, car washers, family gatherings, music, dance, intimate moments and candid conversations from politics to sex. A community portrait alive with color, rhythm and everyday vibrancy, anchored in a refrain painted on a wall: “So far, surviving has prevented us from living.”</p>
<p>Reuniting Elisabeth Subrin with the Lebanese-French actress Manal Issa (a collaborator on Subrin’s award-winning short film Maria Schneider, 1983 and gallery installation The Listening Takes), this pendant work thrums with tension and political urgency as the artists react to the devastating crisis of the Middle East and to the experience of being silenced.</p>
<p>Portrait of a commuter town in the suburbs of Paris, whose daily life was disrupted by the settlement of a Roma camp on an abandoned piece of land.</p>
<p>A hidden military training ground in Germany’s forests mimics urban settings for British troops bound for Northern Ireland. The eerie mock town, “Tin City,” features staged locations designed to prepare soldiers for potential scenarios.</p>
<p>Taking her dad’s job at the Olin Corporation as its starting point, Lee Anne Schmitt interweaves meditative reflections on her biography and her own body with a history of the rise and widespread influence of conservative think tanks in the United States.</p>
<p>Genealogy, uncomfortable questions and reams of archival material are Tavares-Abel’s tools in discovering the political truths of her family and the Dominican Republic. Election fraud and dictatorship are frighteningly topical. Activism suggests itself.</p>
<p>Struggling with depression and social anxiety, Paul has found refuge in serving women who invite him to clean their homes. By sharing his gently eccentric routines on social media, he combats loneliness and takes it one day at a time.</p>
<p>At Milan’s Niguarda public hospital, the unconventional Dr. Bini leads a bold mission overseeing aspiring parents undergoing in vitro fertilization and the journeys of individuals reconciling their bodies with their gender identities. He navigates the constraints set by a conservative government and an aggressive market eager to commodify bodies.</p>
<p>“Archipelago of Earthen Bones — To Bunya” traces alternative cartographies of time, rooted in the very geologic formations of our planet. Examining volcanic time as a means to comprehend and express Earth’s geological history, the film seeks a sensing and knowing that recognizes the divergent nature of the time scales that surround us. From almost instantaneous catastrophic ruptures to the formation of mountains over millions of years, the film invites us to become immersed in time.</p> <p>Using tectonic plates as imaginary maps, Szlam films a constellation of ancient landforms, from the eroded vestiges of volcanic activity to the relics of the Gondwana Rainforest, tracing a path along the central eastern ranges of Australia, which were illuminated in the afterglows of the Hunga-Tonga-Hunga-Ha'apai eruption. Szlam films on 16mm and edits in-camera, creating dazzling landscapes through multiple exposures. The vibrations, murmurings and signals of Earth form the soundscape composed by Australian artist Lawrence English. “Archipelago of Earthen Bones — To Bunya” evokes the layered histories of Mount Beerwah to the titular Bunya Mountains, rendering a unique perspective on the shifting faces of our environments. </p>
<p>As New Year's break is coming, Zhili's textile workshops are almost deserted. The few remaining employees are desperate to be paid for their trip home. From the banks of the Yangtze River to the mountains of Yunnan, everyone will be celebrating the festivities in their hometown, and performing the rituals of prosperity among their families. For Shi Wei, it’s also the opportunity to get married, as it is for Fang Lingping. Her husband, a former IT specialist, will have to follow her in Zhili after the ceremony. Learning is hard, but does not hinder the advent of a new generation of workers.</p>
<p>In this enveloping second part of the Youth trilogy, shot between 2015 and 2019, Wang Bing deepens his vérité portrait of a generation struggling to survive on meager wages amidst a nation’s economic expansion, emphasizing the distrustful, increasingly combative relationship between workers and management.</p>
<p>Bogancloch is Jake Williams’ home, nestled in a vast highland forest of Scotland. The film portrays his life throughout the seasons, with other people occasionally crossing into his otherwise solitary life. A sequel to Two Years at Sea (2011), charting a subtly changing life in a radically changing world.</p>
<p><span style="font-size:12pt"><span style="background-color:white"><span style="font-family:"Times New Roman",serif"><span style="font-size:10.0pt"><span style="font-family:"OpenSans",serif"><span style="color:black">Intimate and fragmented moments unfold in a community of zoos and animal rescue centers. As histories of these institutions are uncovered, dedicated workers commit both day and night to caring for the remaining enclosed animals, fostering a mutual bond that transcends imagined boundaries between human and animal. </span></span></span></span></span></span></p>
<p>American filmmaker Julia Loktev, born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent media journalism in Putin’s Russia—just months, as it turned out, before the country’s invasion of Ukraine. Structured in five chapters, Loktev’s film is an extraordinary vérité document of a moment of immense change and anxiety.</p>
<p>Being John Smith is a deceptively wry and deeply felt work by the English avant-garde legend, in which Smith reflects on his life and career by way of his generic name, grappling with his own mortality and legacy, through a minimal, unassuming deployment of text, image, and voice.</p>
<p>During the years 1958 to 1989 there was a public-service monopoly in Sweden, and the public broadcaster SVT’s reporting from Israel and Palestine was unique. Their reporters were constantly present in the war-affected region, documenting everything from everyday life to international crises.</p>
<p>In 1998, two high school girls sent a letter to the first-ever women’s newspaper in Iran.</p>
<p>This film serves as a tribute to Andy Warhol. It reflects Jude's signature style, blending contemporary social critique with historical reflections. Although specific plot details are scarce, the film's presentation and thematic focus highlight the director's continued exploration of Romanian history and society through a provocative and artistic lens.</p>
<p>“In my country, they call me “The Cat”, because like cat I died seven times, and seven times I came back to life”. The film opens on a tale with animated figurines in miniature settings reconstructing Fida’s childhood during the war. It then shifts to a documentary style with a series of real confrontations between Fida and ex-militiamen manipulating the small figurines. The miniature material becomes a bridge between different subjective stories, infusing the collective history with individual details. The experience of this confrontational space turns out to be cathartic. The narrative moves around between realities and temporalities, proceeding from Fida’s childhood in the eye of the storm during the war in the eighties until today.</p>
<p>Yvon cleans up invisible dust, counts to reassure himself, talks a lot, screams in anger and writes to calm down. His retirement is imminent and before leaving his official accommodation, he revisits his life as a decontaminator in nuclear power plants. Yvon begins to write his story.</p>
<p>A woman on her commute to work receives a call from her son. She tells him about her routine. Meanwhile, her husband, now retired, tries to fill a void.</p>
<p>On March 25, 2023, I was filming in the heart of a demonstration against the construction of megabasins in Sainte-Soline. The repression was so violent that, by the time I got home, I’d forgotten much of what I experienced there. The images I took have allowed me to retrace my path.</p>
<p>Pauline, Norah, Kristina and others wait for hours, sitting under a hut deep in the Bois de Vincennes. In front of the administrative detention center (CRA) in Paris, they have all come to see their loved ones locked up. Lives on hold, awaiting deportation or release.</p>
<p>Memphis, Tennessee. Rapper Lachat (Chastity Daniels) takes us through different narratives, her own, to guide us in this city filled with ghosts and dreams.</p>
<p>Flora and Louise met in Yaoundé, Cameroon, over six years ago. They fell in love and, although they are no longer together, they have never left each other’s side. Throwing open the doors of the organisation that shelters them, I uncovered the story behind their refugee status.</p>
<p>Bodies that move, walk, swim, progress. Bodies that rely on other bodies: that communicate and organise among themselves. Their complex movements mean that obstacles, borders, farewells, walls, family, hopes and arrivals all become imprinted on the body.</p>
<p>Players of World of Warcraft remember an epidemic that occurred in the game’s universe in 2005</p>
<p>In the suburbs, the young boys living in La Haie Griselle neighbourhood show me around and share their interests. Nicolas relates his first kiss with a girl. Speaking of, where are the girls?</p>
<p>The Unconcerned phones his friend before flying off to Greece. The Sacrificer tells us about his philanthropic activities. The Astronaut recalls his dream and his dead. With the airport and its surroundings as backdrop, all three evoke their relationships to the Future</p>
<p>It’s close to midnight. Not far from the Porte de Vanves in Paris, Moussa and Alassane aren walking their dog. It’s the 14th of July.</p>
<p>A lost generation of young Russians arrives in a shelter in Tbilisi.. Forced to leave their homeland by Putin’s war and repression, they live as digital dissidents. From Georgia, they set out in search of a new home.</p>
<p><span data-sheets-root="1">A former communist leader and activist for Moroccan independence, Edmond Amran Elmaleh left behind a vast body of literary work that masterfully articulates personal and collective memory. This cinematic letter, addressed to Elmaleh by director Simone Bitton, weaves together excerpts from the writer’s texts, testimonies, and archival images, and the filmmaker’s own words to illustrate the memory of a captivating and erudite man haunted by the parallel tragedies of the departure of Jews from Morocco and the exodus of Palestinians uprooted from their land.</span></p>
<p>In this meditative documentary shot on the Maltesian island of Gozo, Franziska von Stenglin avoids the tourist cliché and follows the daily routine of a disillusioned, sea-worn fisherman, who, perched atop 50-metre high cliffs, practices his ancient method. A contemplation on the cost of the relentless march of progress, and the irreparable loss felt by the delicately balanced life beneath the waves.</p>
<p>Cabrera’s cousin discovers himself in Chris Marker’s La Jetée: a photo of him and his parents on the observation deck of Orly airport. They had arrived there from Algeria in 1962.</p>
<p>Drowned footage recovered from the 1970 Karaj Dam crash of Albert Lamorisse resurfaces. Over a phone call with an Iranian National Film Archive archivist, Faraz Anoushahpour probes the death of Lamorisse and the restoration of these final images. The film blends speculation, archival fragments, and critical reflection on loss, memory, and the afterlife of cinematic artifacts</p>
<p>In November 1948, James Baldwin left New York and, thanks to a fellowship grant, relocated to Paris. The 24-year-old writer would spend most of the next decade there, escaping American racism and his own social alienation, ensconcing himself in the city’s Algerian quarters and the community of Left Bank artists in Saint-Germain-des-Prés, and writing his first books. In his first feature, photographer and filmmaker Yashaddai Owens imagines Baldwin’s first experiences in Paris in impressionistic fashion. Shooting in black-and-white on 16mm film, Owens conveys a subjective feeling of wonder and freedom as Baldwin (Benny O. Arthur) observes and absorbs his new environment, and experiences newfound individuality and erotic liberation. A work of exhilaration, set to a lush original score by Paco Andreo, Jimmy is a portrait of the artist reconnecting with the world.</p>
<p>Shot in Cambodia and borrowing a title and a punk sensibility from Qiu Miaojin’s classic queer novel, Daphne Xu’s Notes of a Crocodile follows an unnamed woman who roams the streets of a Phnom Penh in flux, encountering humans and animals in her search for a lost friend.</p>
<p>Two young girls join forces with the director, and the three of them work together to break the silence, recounting a story of incest. Between reality and traumatic flashbacks, the story transcends genre boundaries to offer an exploration of pain and resilience.</p>
<p>Autumn 2019 in Beirut. The streets are shaking day and night with the slogans and chants of a people who have decided to turn their frustration into revolutionary exhilaration. Ghassan Salhab is in the crowd, at the heart of the uprising. Day after day, demonstration after demonstration, without planning to make a film, he keeps filming. Because he stands with the crowd, rising up as well. Then comes the lockdown, which ruins the momentum. Then the port of Beirut explodes. Then Israel launches its army against Gaza. Autumn 2019-Winter 2023: Night Is Day is both the chronicle of a collective disaster and the diary of a man who only has cinema to protest, in his solitude. Ghassan Salhab decided to make a film out of the dozens of hours of footage collected on his cell phone, using the power of editing to counter the inability of mankind to defy the crushing march of time. As long as the uprising lasts, the shots seem to repeat themselves endlessly, similar yet different, while the succession of songs shows variations on a shared conscience in the making, a prodigious collective force of creation. What the energy of the street actually lifts is time itself, as if suspended in mid-air. When people start wearing masks and the streets become empty, time resumes its course. Night spreads, personal losses make the mourning of the possibility of a shared world even more tragic. The aching beauty of the film lies in its poetic transformation, from collective epic to the individual elegy of a man who continues to film (despite) the collapse, despite the blindness, the helplessness that seem to affect cinema itself. Filming and phrasing: silent words are written on the screen, in place of people's songs. Words exchanged at night with a Palestinian friend, to share what is left: rage and anger. Cyril Neyrat</p>
<p>To reduce ambient noise when approaching a whale, a vessel should not exceed six knots. A long-standing symbol of the distance between human and animal and the mystery of the natural world, the whale is a site of disconnection, fascination and exploitation. Six Knots follows specialists in cetacean death and conservation on the west coast of Canada. The film tracks the grey space between language, sound and image, and the entanglement of colonization, industrialization, and science.</p>
<p>The latest epic work of observational nonfiction from Wang Bing furthers the filmmaker’s ongoing chronicle of the economic, social, and personal upheavals happening across a transforming China. Deepening the intimacy with which he captures communities of people living amidst financial struggle and toiling for little money in exploitative conditions, <em>Youth (Spring)</em> is a remarkable account of rural migrant workers employed in textile factories in Zhili, a town outside Shanghai. Over the course of five years, Wang follows various groups of people, most of them in their twenties, as they labor over their clothes-making, interact in the cramped dormitories where they live after hours, bargain (often fruitlessly) for better wages, and create emotional bonds and relationships with one another. As the title suggests, this film is specifically about the lives of the young, forcefully and humanely depicting—with its director’s customary patience and unassuming formal rigor—the consequences of the country’s rapid growth on the minds and bodies of a new generation of workers.</p>
<p>In <em>Mast-Del</em>, an intimate conversation between two women summons memories and images—both original and appropriated from post-revolutionary Iranian cinema. Bathed in indigo and midnight blue and enmeshed in disorienting superimpositions and bleeding colors, these elusive glimpses cast a soft, violent gaze on oppression and desire, forbidden pleasure, and the specter of punishment.</p>
<p>A playful collage of images, words, sounds and texts that deconstructs female desire in post-revolution Iranian cinema.</p> <p>In Iran, physical touch between a man and woman is prohibited in films. Nazarbazi (‘the play of glances’) examines the at times playful visual forms and gestures employed in post-revolution Iranian cinema to bypass censors. Weaving together cinematic moments of ‘sin’, Nazarbazi reflects on the film legacy of invisible desires, implied proximities and unspoken glances.</p> <p>Tafakory inserts metatextual interventions: quotes from writers and philosophers such as Forugh Farrokhzad and Ahmad Shamlou expand the meaning of the images. Subverting the strict and uneven codifications of portrayals of female desire, Nazarbazi makes a convincing argument about the radical relationality of touch—without touching.</p>
<p>Guided by a book by Néstor Almendros that he acquired clandestinely in Havana in the 1980s, Ricardo Vega filmed in 8mm and edited the images in Paris three decades later.</p>
<p>Thirteen-year-old Nicolas lives in a foster home with his best friend, Saef. He enjoys many of the pleasures of childhood and sees his mother from time to time, but soon he will have to find his place.</p>
<p>Voices from the Waves is a continuation of The Sound of the Waves, which was produced in 2011. Following the same approach, it consists of interviews with survivors of the tsunami following the Great East Japan Earthquake</p>
<p>The third part of a trilogy focusing on the Tohoku region that is comprised of dialogues with victims of the Great East Japan Earthquake.</p>
<p>A companion piece to Voices from the Waves Shinchimachi that forms half of the second installment in a documentary trilogy on the Tohoku region. Through numerous interviews, they concentrate on the experiences and emotions of people, not as victims but as individuals.</p>
<p>On the end of an unexpected golden age, that of cinema X.</p>
<p>In Habana Solo some of the most important Cuban musicians from the most diverse musical tendencies of today, showing us the city in them and the city they inhabit with no other words than the music solos they improvise _ in solitary space and without restrictions, and we can see through the free lens of the camera, freedom based on undertaking the translation of the sounds of their music and the city’s, into an uninterrupted visual solo in which images concatenate each other, in the same way the musicians are composing in the real instant their improvised pieces, with the rhythmical and harmonical intensity of the music that happens, and with the same dose of abstraction, making palpable the spirit of the city possessed by its musical sounds in the same proportion they sound, beat and visualize, with a texture that doesn’t betray its reality, possessed by her.</p>
<p>On April Fool’s Day, 1989, a man crossing the road between two garage sales was hit by a car and thrown into a state between life and death.</p>
<p>Pachamama is another fine example of Peter Nestler’s extraordinary documentaries. He takes us on an expedition to Ecuador, to the heart of an ancient Indian culture.</p>
<p>Real images and superimposed drawings create a synthesis full of vibrant suggestions about the absurdity, complexity and beauty of our planet.</p>
<p>This is a semi documentary about a Belgian woman trying to deal with her confused ideals after the big industrial strikes in Wallony. To do so, she goes to Spain to try and find out if there is a future for anarchist ideals.</p>
<p>The youth movement in Zurich in 1980-81 and the deaths of four boys, victims of “accidents” involving the police, provide the focus of Richard Dindo’s gripping investigation. With its emphasis on eyewitness accounts and the spoken word in general, the film makes a fervent case for the revolt of a generation in search of freedom.</p>
<p>A rugged drama of initiation set in an isolated part of northeastern Japan. A young man tries to overcome the hostility of his girlfriend’s father, a tuna fisherman, by getting the older man to teach him the secrets of his dangerous trade.</p>
<p>A reading of the poem Oración por Marilyn Monroe, by the Nicaraguan poet Ernesto Cardenal, serves to connect the fatal demise of the mythical actress with the misery and exploitation of American childhood. An icon of popular culture, images of Marilyn Monroe are reappropriated and given a new meaning based on editing as a symbol of imperialist oppression and humiliation. The prayer is not only for the goddess of cinema, but for all humanity.</p>
<p>Cannes 1981: a woman is trying, and most of the time failing, to access screenings and press conferences. Her film festival takes place mainly in the comforts of a fancy hotel room. The woman is famed French actress Bulle Ogier, and it seems nobody recognises her. Arguably the most sardonic vision of the vanity fair that is every major, market-driven film festival, as well as a sobering look at the reality of celebrity.</p>
<p>The parallel lives of a young man, solely focused on building an attractive physique and maintaining his solitary individuality.</p>
<p>An experiment with wild kitsch images Soukaz unleashes his aggression on the news material, on war, repression, religion, etc., and shows his despair about a society which has turned the concept of happiness into its biggest myth.</p>
<p>A dialogue between History and a Guerrilla Movement, interlaced with live footage taken in Portugal and Guinea-Bissau, when this country was the colony of the first.</p>
<p>The story of the Cubans who arrived in Miami during the Mariel boatlift and were housed in makeshift camps in the heart of the city.</p>
<p>Four episodes on homosexuality deal with a turn-of-the-century photographer, the first homosexual movement and study centre in Germany in the ’30s that tried to treat it as a social reality, the sixties when gays declared themselves, a gay cafe where a mytho-maniacal gay relates his fantasies.</p>
<p>The first feature film by the legendary filmmaker Jean Eustache consists largely of a straightforward, unadorned interview with his grandmother, who gives a passionate account of her lurid past – the wars she survived, the babies she lost, and the husband accused of pedophilia.</p>
<p>Political satire-cum-historical and educational rundown of violence in the USA under the mandate of Lyndon B. Johnson, from 1963 to 1969. Reusing a variety of archive footage and interviews, the film analyses US policy, by looking back at the murders of Martin Luther King Jr., John and Bob Kennedy.</p>
<p>This is the story of a promise, a dream, a utopia ruined by the political ambitions of these instigators. “Aurora” refers to a construction zone that developers sell to a young, poor population; Aurora is a promise of freedom, a land where everyone can build the house of their dreams.</p>
<p>Bernard is daydreaming at school, visualizing a world of poetry and fantasy. But the real world around him – including professor and schoolmates – eventually takes its toll.</p>
<p>Light is everywhere. By daylight it brings out the beauties of nature while at night it illuminates the big city, thus making it both attractive and mysterious.</p>
<p>A group of French pupils asks their American peers – what is the Far West? The young Americans answer with their teacher’s help. The director transforms the children’s statements into images, and shows how the state instills an official opinion on the Far West.</p>
<p>Aboard the Cityrama, François Reichenbach accompanies a couple of tourists on their guided tour of the capital. After touring the main monuments, the author becomes more subjective and captures, through chance encounters, intimate moments and picturesque scenes of Parisian life.</p>
<p>Three young people shoot a film celebrating their city, the largest port on the Mediterranean and a muse for filmmakers since the birth of cinema, with dramatic, open-air cinematography reminiscent of the French new wave. The filmmaker is Marseille’s self-taught cinéaste Paul Carpita, son of a dockworker and fishmonger, who was passionate about recording the daily life of the working classes.</p>
<p>Condemns racial discrimination in Cuba from the colonial era until the triumph of the Revolution.</p>
<p>This working class short subject denounces the ongoing French war in Algeria.</p>
<p>Through the comical habits of Americans on vacation, the filmmaker offers a reflection on the quest for happiness, an idea dear to Americans, which is even guaranteed by the constitution.</p>
<p>A group of Irish scientists are waiting for a castaway to wash up on their shores, so they can catch him and turn him into a monster.</p>
<p>Jacques, a young reporter, is in charge of covering the International Youth Meeting in Warsaw. He falls in love with a young participant, Mireille, who returns his love. During a walk, they discover the ruins of the ghetto where so many victims of Nazism died.</p>
<p>Slightly melancholy evocation of the first cold days setting in in Paris – its streets, its markets, its public gardens -, punctuated by a poetic commentary.</p>
<p>François Reichenbach’s subjective camera offers us a very unique vision of the American megalopolis, accompanied by music by Bela Bartók and a text inspired by Arthur Rimbaud.</p>
<p>A report on this extraordinary boom town that owes its fortune to oil.</p>
<p>Carpita brought both artistic ambition and documentary rigor to this politically charged narrative, in which a young couple searches for a home against the background of Marseille’s dock workers’ strikes of the early 1950s.</p>