A three-part documentary tracing the evolution and internal divisions of the gay community, from LGB to LGBTQIA+, highlighting how expanding definitions of gender and sexuality have reshaped identity politics. It examines conflicts between transgender activists and radical feminists, and considers whether trans people face the same historical prejudices once aimed at homosexuals. The film also explores the rise in trans-identifying teenagers, questioning the influence of social media and societal change, and the impact of recent puberty blocker bans. Guided by historian Mel Adams, it blends historical perspective with insights from experts and LGBTQ+ individuals, probing how past and present debates shape the community’s future.
The Last Holocaust Secret reveals a little-known chapter of World War II: how Bulgaria, under Nazi pressure, chose to save nearly 50,000 Jews from deportation. The film is told through the personal story of Mladen Ivanov, an ordinary man whose life became a witness to extraordinary events. Combining eyewitness accounts, rare archival footage, and historical analysis, the film uncovers a collective act of courage that history has long overlooked.
After finding old files from my video camera, I relive those memories, moments of which I was a part. Feeling the passage of time makes reality weigh. Where did those memories go? Is my camera the only real witness of what happened? What happened to them?
A Life in Frames explores Joe Walker's work, tracing his career from early life to his most recent films. Through detailed analysis and discussion, it examines the techniques, choices, and creative vision that define his editing.
From the end of the Second World War to the fall of the Berlin Wall, France and East Germany maintained links despite the Cold War. As early as 1959, towns in the two countries were twinned and thousands of French workers' children went on holiday camps in the GDR.
Throughout its course, the Sedeño River interacts with other beings that comprise and inhabit it. As it passes through Xalapa, its waters become polluted, and thus, as it continues on its course, another life inhabits it. Those who accompany it in its resistance narrate its closeness to the territory that creates it and allows it to flow along its course.
Riding public transportation in Mexico City should not result in injuries or broken bones, but for Braulio and Ulises, two young deaf men, it was different. A series of acts of abuse and discrimination revealed negligence on the part of the police and the authorities responsible for administering justice. This documentary is made entirely in Mexican Sign Language.
A short documentary that exposes sexual harassment against men through two intimate testimonies, accompanied by images in public spaces where skin becomes a canvas for insults and aggression. A raw and sensitive portrait that questions the social silence surrounding this issue.
Bansenshukai: From Secrets to Empires is a cinematic docu-drama that blends espionage, global trade, and historical strategy in a visually rich, fast-paced format—crafted for today’s attention-savvy audiences. With exceptional production values and a unique narrative connecting Japan’s shinobi to Europe’s first stock exchanges, it delivers intelligent, high-impact storytelling at the exact intersection of history, entertainment, and modern geopolitics. The film isn’t just entertainment—it mirrors today’s shifting global trade and power struggles, making it both timely and commercially magnetic. Its themes of secrets, spies, trade routes, and survival resonate across cultures, while its pace and style break from tired “talking-head” documentaries to match the energy of blockbuster IPs.
Twenty years after the success and after an abrupt and complicated separation surrounded by gossip and polemics, you dear public will be wondering Where are the Franciscans? What happened to this iconic lineup? We wondered the same...
Lisa Larson is one of Sweden’s most beloved ceramicists, known for her round, playful animal and child figures. But when director Emilia Ekman Larson digs up her grandmother’s 30-year-old discarded sculptures, she can’t help but wonder why they look so sorrowful.