"Don't Let The Bastards Grind You Down" is a documentary film about British social policy. The focus is on the political struggle against neoliberal austerity policies, which have their origins in the hated Thatcher government. The film features the former socialist MP Dave Nellist, who is now the national chair of the Trade Unionist & Socialist Coalition and Hannah Sell, the general secretary of the Socialist Party. The film features a local election campaign in the miners' town of Nuneaton, students campaigning against an increase in tuition fees and refuse workers from Birmingham striking against massive cuts to their wages.
A short film that explores the concept of “gender ideology” as invoked by global political and cultural leaders. It opens with provocative quotes from figures such as Recep Tayyip Erdoğan, Viktor Orbán, and others — e.g., “They are planting a time bomb in our national structure.”
To Noah, his girlfriend Olivia is growing distant with him, a feeling only heightened when he finds her with another man. To Olivia, there's a different side of the story unfolding...
Sorry You Live Here is a comedy travelogue about friendship, the American south, and waterlogged millennials at the disastrous 2025 Bonnaroo music festival.
Portrait of pioneering LGBT filmmaker Lionel Soukaz, who passed away in February 2025. His work lies at the crossroads of several film traditions that rarely intersect: experimental, activist, pornographic, and diary film. Based on both public and private interviews with Lionel Soukaz.
In this intimate portrait addressed directly to Hélène Hazera, filmmaker Judith Abitbol revisits a key figure of France’s countercultures from the late 1960s to the 1990s. A member of the Gazolines and the FHAR (Homosexual Front for Revolutionary Action), Hazera was a tireless LGBTQ activist who founded Act Up’s Trans and AIDS commissions—one of her proudest achievements. Her true victory, however, was becoming the first transgender journalist at a major national newspaper (Libération), and later a producer at Radio France and France TV. Through her story, Abitbol reconnects with the insurrectionary spirit and creative chaos of those decades—an era when French culture was shaken by radical imagination, humor, and defiance. The film celebrates these modern Antigones who dared to live their desires beyond the reach of any law.
In 2000, Susana de Sousa Dias made Criminal Case 141/53, about the sisters Isaura Borges Coelho and Hortênsia Campos Lima, who resisted a 1950s’ Portuguese law that prohibited nurses from marrying. Supported by a montage of archival material, the film told their story, which was shaped by the dictatorship under Salazar. Now, a quarter of a century later, De Sousa Dias returns with a sequel that questions and reflects on her earlier film. She describes how she first encountered the archive material that led her to the sisters’ story in the early 1990s.
An Iranian expat journeys back to his homeland, where he must face his domineering father and grapple with complex emotions about family ties, cultural identity, and his place in the world.
Isolated during the COVID lock-downs, Xavier films the mesmerizing flights of starlings over his hometown in Spain. Their movements awaken memories of his HIV diagnosis and a deep longing for connection. Through voice messages with his lover in Brazil, the defiant spirit of early AIDS activism in New York, and Afro-Brazilian Candomblé rituals, the film becomes a layered meditation on grief, survival, and collective resilience.
A mother goes through a box of keepsakes, showing photographs and reading love letters out loud in a soft voice. Meanwhile a father leafs through an ethnography book, then fixes his gaze on a single, significant photograph. These are the parents of French-Vietnamese filmmaker Anaël Dang, who, 21 years ago, received an envelope with life-changing contents.
Thousands of workers take the ferry across Lisbon’s Tagus River every day. They’re commuters just like those you see everywhere in buses, trains and subways. In the ceaseless flow of humanity they disappear anonymously into the crowd. This film is Gonçalo Pina’s cinematic tribute to these “invisibles.”
Albert Kuhn uses a personal, analytical, and cinematic lens to examine how an untold family history leaves its mark on the second and third generations. Kuhn’s father emigrated from Germany to Barcelona in the 1970s, leaving behind his native country and the family he was born into.