Three boys and three girls. All born in the Middle East now living in Sweden. All with different views of Islam, integration, the World and Sweden. Some follow Sharia. Others fight Islamic roles. One is a hip hopper. The other thinks music is a sin. One thinks that the woman must obey her husband. One fights for women’s liberation. One girl is a boxer. The other is an ordinary worker. Some are closely followed by the Security Police. Children of Islam is a documentary about religion, culture, conflicts and looking for an identity in a changing Sweden.
A documentary on the making of the Japanese animated science fiction film, Akira, created by Katsuhiro Otomo from his popular graphic novel series of the same title; shows Japanese animators at work and discusses their state-of-the-art animation techniques.
Alana and Lori were just two LGBT 20-somethings looking for love on Tinder when a casual right swipe made a match that would bind them together forever. Within a few weeks of meeting, Lori learned that Alana suffers from Lupus and has been waiting on the kidney transplant list for years. The state of New York, where Alana lives, has the lowest number of organ donors in the country, and because of her complex medical background, her chances of finding a donor match were incredibly slim. Against all odds, Lori found that she was a candidate for donation and decided to give Alana the ultimate gift. If the transplant is a success, Alana will triple her life expectancy and be freed from nightly dialysis. But if it fails, Lori will go through risky surgery and lose a healthy organ in vain. BEAN is an emotional medical journey for two families that tests the true limits of love and sacrifice.
Privilege is an intelligently conceived, boldly anarchic, and wickedly insightful exposition on the culturally ingrained and socially divisive malaise of isms that artificially define and characterize empowerment in contemporary society: ageism, sexism, economic elitism, and racism. Yvonne Rainer conveys texture through the intercutting of archival footage, video, and film - as well as compositional layering through the film-within-a-film structure, elliptical (and self-referential) fusion of past and present, and the filmmaker's idiosyncratic penchant for superimposed typed text.
Speech-making is the art of persuasion. Well-honed rhetoric appeals not just to the mind, but to the heart and, deeper down, in the guts. Examining the speeches that provoked radical change, surprised pundits or shocked listeners, poet Simon Armitage dissects what makes a perfect speech. Simon gets the inside story behind some of the famous speeches of the modern age, talking to Tony Blair's speechwriter, to Earl Spencer on his controversial address at his sister's funeral and the woman who challenged the rioters in Hackney. We hear how Peter Tatchell confronted the BNP, Paul Boateng on how Enoch Powell's divisive speech personally affected him as a child, and Colonel Tim Collins, whose charge was to motivate his troops on the eve of the Iraq war. Simon discusses the nuts and bolts of speech writing with Vincent Franklin, aka the blue-sky thinking guru Stuart Pearson from The Thick of It, and gets tips on powerful delivery from actor Charles Dance.
The personal and professional story of Ilona Staller, known as Cicciolina, is probably unique: she left communist Hungary and moved to Italy, where she found a fertile environment for a life dedicated to scandal.
Documentary broadcast by the BBC on 15 November 1994, produced at the time of "The Division Bell" tour. Although Roger Waters declined to grant an interview in this programme, the post-Waters era is only briefly mentioned (during the last 2 minutes). The rest is focused on the band's history with Waters. The documentary not only features interviews with all three members of Pink Floyd at the time, but also includes interesting interviews with several people closely related to the band: Andrew King, Joe Boyd, Mike Leonard, Storm Thorgerson, Ron Geesin, Clare Torry , Douglas Adams, and others. It also contains rare archive footage, such as extracts from 1968's "Tomorrow's World" programme and a very original film showing the band recording for the song "Marooned" in David Gilmour's studio-boat, the Astoria, with Bob Ezrin playing bass in this session.
The people of Unamenshipu (La Romaine), an Innu community in the Côte-Nord region of Quebec, are seen but not heard in this richly detailed documentary about the rituals surrounding an Innu caribou hunt. Released in 1960, it’s one of 13 titles in Au Pays de Neufve-France, a series of poetic documentary shorts about life along the St. Lawrence River. Off-camera narration, written by Pierre Perrault, frames the Innu participants through an ethnographic lens. Co-directed by René Bonnière and Perrault, a founding figure of Quebec’s direct cinema movement.
Ever wonder how they ever managed to make a movie like Orgazmo? Well, bickering duo Elder Tom and Elder Mattt host this tour of the mind of creator Trey Parker and what inspired him to make the movie. Even interviewed are the cast and crew, even features scenes of the original 16mm trailer and more never seen footage. Also discussed is "Does shaving your balls really make the ol' johnson look bigger, how fans loved the movie, collected the merchandise and danced the disco music. Also shown are behind-the-scenes looks at the movie, as well as how difficult each effect was in doing since they didn't have the convenience of computer animation back then.
A reflection on the assassinations of social democrat politician Fernando Buesa Blanco and his bodyguard Jorge Díez Elorza, perpetrated by the terrorist gang ETA in Vitoria-Gasteiz, Basque Country, Spain, on February 22, 2000.
Ira is one of America's unsung champions of civil rights and liberties. As his generation retires from the barricades, Ira reminisces on his life at the forefront of defending the rights of all Americans.
The film focuses on gay men who align themselves with hard-core right wing views, skinheads and Nazis. Rosa von Praunheim stated of the subjects featured in the documentary, “Some may be shocked that I do not take a stand in my film and do not portray gay neo-Nazis as monsters, but as people living their lives in dramatic contradiction.”