A Polish documentary that explores the early history of Pride marches in PoznaĆ and the struggle for LGBTQ+ equality in Poland. It focuses on the contrast between the city’s 2020s identity as a so-called “Rainbow Capital of Poland” and its much harsher past when marches were rare and fraught with conflict. The film reflects on a first Pride march marked by a small group of around 200 people attempting to advance under heavy police presence, unable to walk more than 100 meters and facing aggressive suppression.
At the police academy, young recruits start their training willing to serve the population. As trainees and instructors wish to remain anonymous, their faces have been digitally edited. This substitution reveals a hidden truth, a truth about the institution.
A retrospective on the life and political career of Michael D. Higgins, featuring interviews and RTÉ archival footage spanning his political and family life.
When Jacob Hoggard is accused of rape, blind devotion collides with truth. Breaking Idol exposes the price of power, the peril of fandom, and the courage it takes to speak out.
The controversial Doctor of Philosophy and YouTuber Antonín Dolák lies in the timelessness of his bare room on the top floor of an unnamed villa. Because of his work, he has been expelled from the University of Ostrava, as well as from lectures at DAMU and other institutions. He has offended everyone and has resigned from everything else; he no longer seeks the Truth with a capital T – artificial intelligence will surely do it for us. The final blow for him was the deletion of his channel, which had a ten-year history: from philosophical lectures to provocative anti-art and childish philosophical theater. To some fans he is a self-centered parasite while for others he is a kind of virtual fiction on the internet that they cannot imagine as part of the shared world. Is there anything left about Dolák that is lovable? Is there anything sacred to him? Crippling loneliness sets in.
Archival films from 1950s Kenya turn settler home windows into a lens on the Mau Mau uprising, revealing how British and American movies framed anti-colonial resistance as the villains of a Western.
As happens to Simone, who was already the protagonist 11 years ago – he was portrayed back then with the other men of the Ciliberti family in the previous film *L'albero di trasmissione* – forced to close his workshop and with it his creations made from scrap, emblems of an unproductive inventiveness, of a fragile but realized utopia. It seems, however, that living on the margins of the present, in a precariousness that is a choice and not a misfortune, is a freedom that is no longer permitted. This new work by Fabrizio Bellomo is a biographical film (about a man, a nonconformist, and his neighborhood), which is at the same time a sequel and itself a film within a film, but also and above all a reflection on the role of cinema towards its subjects and on the humanist mandate of documentary.
"Trànsit" is a journey through a city that never lets us stay. Between the noise of the subway and the silence of empty streets, the short film captures the feeling of not belonging to any neighborhood, of living always in transit.
When Rodrigo was a child, he would eat at his grandmother Marité's house and wait until his aunt Montse came home from work. Without sitting down, Montse would fill a plastic bag with a loaf of bread, a container of food, empty plastic bottles, and a hot brick wrapped in newspaper. She was going to take the food to someone. One day, she decided to take Rodrigo with her on one condition: no talking. Eighteen years later, he remembers nothing.
Saltar is a documentary essay that breaks the silence surrounding suicide to explore the reality of a region with the highest suicide rate in the country. Through different characters, places, and situations, we learn how suicide is experienced when it has become relatively commonplace.
The starting point is an excerpt from the Albanian feature film "Qyteti me i ri ne bote" (Xhanfise Keko 1974, EN: "The Youngest City in the World"), in which a boy dreams of a modern city where progress and change are represented by construction and sealing. The film revolves around the historical and current transformation processes of urban space and reflects on the power of images, historical and contemporary utopias, and their interplay with architecture. An essay on new and contemporary utopias and their interplay with architecture. The film revolves around the historical and current processes of transformation in urban space and reflects on the power of images, historical and contemporary utopias, and their interplay with architecture. An essay on new and old regimes, power, propaganda, and the accessibility of public space.