How the prolonged crisis in Mali has turned peacekeepers into powerless pawns caught between local wars and global geopolitics in a changing World Order.
The incredible story behind the phone hacking scandal that shook Rupert Murdoch’s media empire that follows the small group of determined journalists and police officers who uncovered one of the biggest cover-ups in modern British media history. Featuring exclusive access and surprising new interviews with key figures—some speaking for the first time—it traces the trail of evidence that led from a single suspicious story to a scandal that reached the highest levels of power. As the truth emerged, it brought about a reckoning for the world’s most powerful media mogul, culminating in what became known as “the most humble day” of his life.
At the age of 47, Stefan is diagnosed with dementia. At home, he continues to keep his things tidy, until it becomes impossible for him to live alone. In the care facility, Stefan meets the warm-hearted Monika, who gives him new strength. Stefan’s condition worsens when Monika leaves for a world trip. Shortly afterward, Stefan also loses his job and sinks ever deeper into the fog of his illness.
Free Fish is a short documentary filmed over the course of a year in Gaza, following two brothers — Abu Nagham and Ahmad — separated by war yet connected by the sea. Displaced from their home, Abu Nagham now lives in a tent in the south, fishing with his young nephew Rami, who lost his twin brother. Ahmad remains in the north, fishing amid ruins and occupation. Once a source of livelihood and freedom, the sea has become a battleground — heavily restricted, constantly watched, and always dangerous. Through intimate footage and poetic observation, the film captures the everyday courage required to cast a net, mend a line, or share a meal. Fishing becomes an act of survival, resistance, and hope. Co-directed by Bisan Owda (Peabody Award 2024) and Carolina Pereira, Free Fish offers a deeply personal and universal story of resilience in the face of erasure — a quiet tribute to a people who refuse to be forgotten.
Friday, November 7, 2025, marks the fiftieth anniversary of the devastating explosion at the chemical company DSM in the Limburg town of Beek. Kefah Allush takes viewers back to this momentous day. The disaster is depicted through eyewitness accounts, personal memories, and impressive visualizations.
In one of the most beautiful and captivating corners of the planet—between the majestic Victoria Falls and the mighty waters of the Zambezi River—the human–wildlife conflict has reached alarming levels. Elephants, baboons, crocodiles, and other dangerous species are leaving protected areas and venturing into the city in search of food. At the same time, some residents of Livingstone are entering Mosi-oa-Tunya National Park, setting snares or attempting to defend themselves from attacks by wild animals.
Follows a former Microsoft software engineer turned comedian delivering impressions of tech CEOs and political figures while providing insider commentary on modern tech culture.
On November 13, 2015, the German national football team experienced the incredible at the Stade de France in Paris: During the international match against France, explosives detonated directly in front of the stadium goals. During the game, Paris is rocked by a wave of terror. In the end, the attacks in a total of five different locations will cost the lives of 130 people, while 80,000 people in the stadium narrowly escape disaster at the hands of suicide bombers. It will be one of the darkest nights of France and European football.
Large Christian crosses stand at the summits of Swiss mountains, billboards displaying Bible verses occupy public spaces in cities. The filmmakers have never been comfortable with the presence of these religious symbols. In 2009, mountain guide Patrick Bussard sawed down a cross in the Fribourg Alps – and was severely punished by the courts for doing so.
Inspired by Paris, Texas by Wim Wenders and the work of Jonas Mekas, a fragmented video diary unfolds through raw, intimate footage of women in their daily lives—at work, at home, in moments of solitude and connection. Scenes shift between the mundane and the profound, forming a nonlinear tapestry of female experience—desire, limitation, resilience. A voice, both singular and collective, narrates in diary-like reflections, speaking of love, shame, pleasure, and the unspoken rules that shape their bodies and choices. Shot in a cinéma vérité style, the film’s grainy, handheld aesthetic mirrors the imperfection and authenticity of memory, blurring the line between personal and universal. Fleeting moments flicker and dissolve, immersing the viewer in a rhythmic flow of images and emotions. As time loops and fragments, The Land of Wanting More becomes both an intimate confession and a quiet rebellion—an ode to the complexities of womanhood, caught between wanting, waiting, an