The documentary explores the cultural memory of Morocco through the testimonies of artistic figures such as Paul Bowles, Mohamed Choukri or Mohamed Mrabet.
I found myself at an impasse, consumed by the question: "Can I truly continue making films and art?" As an artist who must also survive within society, these were deep, existential concerns. This crisis led me to Song Jong-won (90), a master stone craftsman famous for sculpting Dolhareubang (Jeju's iconic stone guardians). When I first encountered him, my primary question was simple: "What is his enduring motivation to keep creating these stone figures?" I began visiting his workshop every week. I discovered that Mr. Song, despite growing up in an era when finishing middle school was difficult, had gone on to major in English literature and become a teacher. Yet, he eventually became so absorbed in stone craft that he quit his formal career. For six months, my camera captured Mr. Song Jong-won as he meticulously completed a single Dolhareubang.
The Film follows the path of four home-based businesses owners- a permaculture farmer, a somatic healing practitioner, a mom-influencer, and a meal-prep business owner. These four individuals creatively re-imagine and re-define their domestic spaces to suit their business needs. Through the film, the characters work hard to achieve the best versions of themselves. However this comes at personal cost, a tenuous line develops between what they consider work and what they consider not work. As this line increasingly gets blurred, we witness how that changes the way that they relate to home, work and rest.
Impassivity and silence are Mads Mikkelsen's trademarks, and roles without reply his specialty. His sculptural allure is such that his mere presence takes on a dramatic dimension. For him, everything starts with the body. It's his main working tool, which he shapes and engages for each film. For the majority of world audiences, the Danish actor remains associated with his "villain" characters in Hollywood blockbusters - Casino Royale, Doctor Strange, Hannibal, Fantastic Beasts... Yet he finds with uncommon ease a balance between major American film franchises and more modest, confidential independent films. If the actor manages to move from one universe to another without being stereotyped, it's because he has a very physical - thanks to his former career as a gymnast - and pragmatic approach to his art.
Revolcadero Beach in Acapulco, Guerrero, is one of the areas most affected by Hurricane Otis. Residents struggle daily with the effects of climate change to maintain their main source of income: providing tourist services.
Group 3 of International Relations Class of 2025 UNHAS embarks on a field study to TPA Antang to uncover the everyday reality behind one of the region’s most challenging environments. Through interviewing a member of the community and on-site observations, the team explores how residents adapt to living near the landfill, navigating issues of waste management, public health, and environmental pressures. This documentary captures the resilience of a community that has learned to coexist with conditions many would consider unlivable. From the routines of families who have called Antang home for decades, to the subtle ways the environment shapes their mindset and livelihoods, the film offers a grounded, human perspective on life at the edge of a landfill.
Two years after the first trip, the group of friends returns to the French Basque Country to make a new film. But everyone has changed since last time, and each person is caught up in a personal subplot that is hard to untangle. Will they manage to come together as a group again?
“Before Dying I Prefer Death” is a documentary road movie about the bond between Malena and her father, El Poly (73), a musician exiled under the dictatorship. Marked by the disappearance of his brothers, El Poly carries grief that affects his daughters. Seeking to heal their relationship, they embark on one last trip in a yellow Chevy to fulfill El Poly’s wish: to find a home to live in.
A chart refers to a document that records the visible and invisible characteristics of places and people; cartography or missive. Through the first letter sent by a filmmaker to his beloved, this film embarks on a journey guided by dreams and chance among real, imaginary and extinct charts, exploring their inescapable and elusive relationship with love.
During the curfew decreed by the Covid-19 pandemic in Guayaquil, Junior (25), a small trafficker from the northern area, must learn to sell pork to pay child support.
Did you look at the sun for too long, until the shapes of the surrounding world stretched and the colors became distorted? In this music documentary, the band Mikko Sarvanne Garden performscompositions set to contemporary poetry: Heräämisen valkea myrsky, Valo jota pöly juo, and Hiljainen kuin metsä.
Shahnon Ahmad's novel Terdedah (1965) has not been reprinted in decades. This rambunctious satire is about a young widow with two lovers. Why hasn't the book been seen for so long? Did it "dedah" (reveal or expose) too much? Amir Muhammad asks seven artists how they would design a cover of Terdedah if it were reprinted today. Through Zoom, they discuss how the novel can be presented visually. In an unfortunate twist, one of the artists disappeared after agreeing. So this artist is replaced by ChatGPT. The six human artists are Anderson Ee, Fahmi Mustaffa, Hannah, Mark Lee See Teck, Syuq Tone and Yante Ismail.
When creating the film “Only a Trace Remains,” a connection was established between the film and soil fungi, without the authors expecting to receive any specific results in return. However, the microorganisms were generous. Although part of the film is no longer on the reel, its traces continue to circulate in the ecological system. How can this complex connection be described?
Combining interviews and live cinema, Rising Through the Fray plunges us into the heart of Indigenous Rising Roller Derby, the first international team to bring together Indigenous players from several countries. For Sour Cherry, Krispy, Hawaiian Blaze, and their teammates, the sport becomes much more than a competition. Through it, they find a space for sisterhood, resilience, acceptance, and healing. On camera, they share intimate stories not only of being uprooted and the wounds of intergenerational trauma, but also of reconnecting with their culture and of the relief of finding a community. In this powerful, feminist documentary, these women assert their right to exist on their own terms.