10 Apr 1987
The Paper Bridge
Beckermann's parents met in Vienna after the Holocaust. Tracing the migratory paths of her family before World War II, Beckerman returns to the European Jewish communities which inspired her childhood stories.
The Young Butler
A film about a man who once took part in Pinochet's massacres.
Top Billed Cast
Jorgelino Vergara Self
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Marc Aurel-Straße in Vienna: The last surviving Jewish textile merchant in the former textile district, the Iranian hotel proprietor and the Café Salzgries and its regulars. Between the summer of 1999 and spring 2000, Ruth Beckermann undertook a series of small journeys on and around her own doorstep and investigated her local area with the help of a film crew. This documentary film also gives an insight into the political changes when a far right Party joined the Government coalition in Austria.
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This documentary follows painter and musician Lyn Foulkes from age 70 to 77 as he labors to complete two astonishing tableaux that demonstrate his outsider's perspective and eye for evocative imagery. As his reworking of one piece stretches into its second decade, we watch Foulkes' righteous contempt for the establishment erode, replaced by a yearning for the recognition he's due.
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Nearly half a century ago, Carmen Ignarra arrived to Mexico after leaving behind her Cuban homeland, in the hopes of becoming the greatest Caribbean actress in Hollywood. But the American dream tur- ned out to be more difficult than she’d thought, and her brief initial success was followed by a slow, painful decline. Today, at 80, the woman who was once Cuba’s most beautiful actress lives totally forgotten in an old mansion in Monterrey. There she survives thanks to her tenants—strange men who she is constantly blaming for mysterious thefts and disappearances. Laura, a young woman also from the Caribbean, arrives at the mansion to work as an assistant in cleaning and housekeeping. With her she brings a video camera and the secret intention of making a documentary about the diva. Together they talk about the past, about wasted talent and lost loves.
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A montage of film clips and stills calling all lesbians to come out and celebrate who they are. In a trilogy of experimental documentaries, director Barbara Hammer rewrites history by inserting lesbians and lesbian imagery throughout educational films, newsreels, medical footage and more from the past century.
Letter from My Village 
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Ngor is a young man living in a Senegalese village who wishes to marry Coumba. Ongoing drought in the village has affected its crop of groundnuts and as a result, Ngor cannot afford the bride price for Coumba. He goes to Senegal's capital city, Dakar, to try to earn more money and is exploited there. He returns to the villagers and shares his experiences of the city with the other men. The story, which shows the daily lives of the villagers, is told in the form of a letter to a friend from a villager, voiced by Faye.
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This film takes you down the shore with an all-women crew to Wildwood, NJ, the last great American blue-collar seaside carnival town. Wildwood, NJ moves beyond gum-cracking, big hair, and press-on nails to look into the souls of women raised on the boardwalks rides and beaches. A Wildwood honeymoon, virginity lost to a boardwalk stranger, fistfights, madness, babies, and no matter what, returning to Wildwood year after year as they grow up and grow old.
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Through the prism of a beauty pageant staged by female inmates of a Siberian prison camp emerges a complex narrative of the lives of the first generation of women to come of age in Post-Soviet Russia. Miss GULAG explores the individual destinies of three women: Yulia, Tatiana, and Natasha, all bound together by long prison sentences and circumstances that have made them the vigilantes of their own destinies. For these women, undoubtedly, life is harsh under the constant surveillance of UF-91/9, but it is no less so on the outside. Today they, their families, and loved ones are sustained by hope for a better life upon release. This is a story of survival told from both sides of the fence.
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Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.
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