Die sind eben so
When Dortmund is playing against Schalke, riots and brawls are destined to happen. The fans of both clubs are shown during soccer matches and asked where the abysmal hatred against the opposing club comes from.
For 17 years, filmmaker Jay Rosenblatt filmed his daughter Ella on her birthday in the same spot, asking her the same questions. In just 29 minutes, we watch her grow from a toddler to a young woman with all the beautiful and sometimes awkward stages in between. Each phase is captured fleetingly but makes an indelible mark. Her responses to her father’s questions are just a backdrop for a deeper story of parental love, acceptance, and ultimately, independence.
When Dortmund is playing against Schalke, riots and brawls are destined to happen. The fans of both clubs are shown during soccer matches and asked where the abysmal hatred against the opposing club comes from.
Fleeing the 1980 Civil War in El Salvador, Dora Rodriguez, among a group of twenty-five asylum seekers, were abandoned by their guide and left to fend for themselves in the relentless Sonoran desert of Arizona.
Against the background of flocks of sheep at pasture, mules walking down unpaved roads, tractors in the fields, and isolated figures in a deserted village, a caption explains that Barbagia is a vast region in Sardinia; Orgosolo, Oliena and Mamoiada are villages of shepherds and the men spend most of the year far away, with their flocks. This is why the houses and the children are entrusted to the women, who cut the wood, work the fields and prepare bread, shepherds’ bread.
From the coast of the Atlantic to that of the Mediterranean, the director meets women whose faces recount ruined hopes. Grief finds an element of painful meditation in the movement of the waves.
A visually provoking short film about one of the most extreme homosexual practices.
A fascinating insight into the life and works of photographer Imogen Cunningham. Coming into public attention around 1910, she was celebrated in the late sixties through awards, honorary degrees and exhibitions. Her photos are looked at from three focal points: nature, portraits and figure studies.
Omondi lives in the biggest slum in East Africa. Everyday he sees airplanes fly over him. He dreams of becoming an airline pilot and flying far away.
A compelling look at the choices that lead to incarceration and the reality of being locked up in Pelican Bay State Prison.
Underscored by French film legend Delphine Seyrig’s evocative recitation of a Henri Michaux poem, Maureen Fazendeiro’s film is a mysterious, multi-textured portrait of eclipse spectators in Portugal.
In Zachary Epcar's fragmentary, soap opera-esque film, lounge music, lamps, coffee pods, and other accoutrements of modern life restage a story of domestic dreams and nightmares.
A generous and lyrical continuation of Lebanese artist Marwa Arsanios’ interest in the ties between ecology, feminism, and collective organization, this documentary showcases the radical politics of a Lebanese farming cooperative and the citizens of Jinwar, a women-only village in the north of Syria.
Documentary about the creative process of photographer Lua Morales, produced by the studio Bad Chinchilla.
A former professional boxer, tells us about the biggest battle he had to fight... Life.
Adolfo, a young Rrámuri, feels the need to document everything around him, becoming the first videographer in his community.
A film about the consequences of leaving an all-consuming way of life. Three people born and raised in the Unification Church (a cult formed in Korea in the 1950s), all having left the Church in their adulthood, examine their experiences within and without the cult that defined their entire universe.
This short, silent film captures a Sunday afternoon at a community skating rink. Iconic Quebec director Gilles Carle has the camera follow toddlers learning to skate, young girls flashing their skates and boys decked out in the colours of their favourite hockey teams. A picture perfect moment on a bright winter's day.
Documentarian Richard Lavoie follows the artists of the Mer Océane symposium which took place on La Grave, in the Magdalen Islands, in 1998.
Le chant du Styrène is a 1958 French documentary film directed by Alain Resnais. The film was an order by French industrial group Pechiney to highlight the merits of plastics.
This short documentary provides a new look at the Lauberivière organization as well as the individuals who benefit from and operate the services.
As with so many early films by Sokurov, this film has two dates: the first is the date of its creation (the film was then banned), the second is the date of the final edition and legal public screening. The film consists of German and Soviet archive footage of the World War II — to be exact, from the end of the war. An attempt to make a large–scale documentary on this subject had been undertaken in the Soviet cinema of the 1960s: the film — “Ordinary Fascism” — by the outstanding Soviet film–maker Mikhail Romm had become a classic retrospective investigation of fascism. But Sokurov uses the expressive power of the documentary image in an absolutely different way. He does not amass materials for a large–scale picture of Nazi crimes.