This documentary profiles the late Kanalu Young whose dive into shallow water at age 15 left him quadriplegic. Angry and defiant, he begins to change when he discovers an untold story of Hawaiian history which fires him up to become a leader of his people.
In 1976, Ian Dunlop was invited by Dundiwuy Wanambi, a leader of the Marrakulu clan, to Gurka’wuy on Trial Bay in the Gulf of Carpentaria. He wanted Film Australia to record the first major Marrakulu ceremony to be held at Gurka’wuy since its recent establishment as a clan settlement. While they were there, a baby boy died. The Madarrpa men, including the child’s father and Dundiwuy, asked for the funeral to be filmed.Mortuary rites of the Yolngu are extremely complex. Despite some practical modifications to traditional ceremonies as a result of life on mission stations, ritual remains extremely strong.
"Twenty Pearls" tells a powerful story of sisterhood. In 1908, nine Black women enrolled at Howard University made one decision that would change the course of history. These college students created Alpha Kappa Alpha Sorority, Incorporated.
Reporting the devastation, forced displacement, and genocide in Darfur should be a story with daily coverage. Mere mention of the word "Darfur" should set off a passionate exchange, or at least the question, "What can be done?". Unfortunately, the people of Darfur struggle with a problem common to so many victimized by geo-political realities: how to overcome the willful indifference of powerful government and media interests who find their story unimportant or merely inconvenient. With images and first-hand accounts, filmmaker Mark Brecke shares his experience of the Darfur crisis with Amtrak train passengers journeying eastward on a three day trip to Washington D.C. Their reactions, interwoven with hard facts and expert opinion, raise the central question in They Turned Our Desert Into Fire - Why does the public not understand the severity of this crisis and how can the world continue to do nothing?
When a young girl named Selina befriends a mystical elderly woman, magical things happen - not the least of which is the surprise of three talking eggs. When her selfish brother Wade gets involved, he's in for some surprises too, but of a different kind.
Captivated by its sweet song, an emperor takes a nightingale into his palace as his companion. But when the emperor shows more interest in a bejeweled mechanical bird, the nightingale flees. It returns only when the lonely emperor sees how foolishly he has behaved.
The story of New Zealander Helen Todd's law suit against an Indonesian general that she pursued after her son, Kamal, was shot dead in the Dili massacre in East Timor.
As civil rights for LGBT and other minority groups are won violent backlashes have been known to increase. Today LGBT people are far more likely than any other minority group in the United States to be victimized by violent hate crimes. PUZZLES tells the story of a hate crime in a gay bar called Puzzles Lounge in New Bedford, MA when a teenager entered and brutally attacked its patrons. As a result two different worlds collide, a homophobic hate crime offender and his victims. Puzzles explores the correlation between American economic desperation and homophobia, intolerance, and, ultimately, violence.
In many ways the heart of indigenous India, mineral-rich Jharkhand is and has been at the core of India's industrial development after independence. There, the indigenous Adivasi people have borne the brunt of what is arguably India's most fundamental developmental conflict, which has pushed them to the verge of extinction as an agricultural people.
This powerful film, produced from a Native perspective, has won many awards in recognition of its exploration of the history and current circumstances of the Sayisi Dene, a people of the ecological and cultural borderlands between tundra and forest in Canada. While specific to the Sayisi Dene, the film provides an excellent introduction to complex issues of politics, land rights, cultural ecology and processes of cultural destruction and rebirth that are of widespread concern in the circumpolar Arctic. It is a well-integrated film using historical photographs, archival material and contemporary film records that, together with the strong testimony of the Sayisi Dene people themselves, combine to provide a positive statement of human potential."
Gerald, the giraffe, wants nothing more than to dance. With crooked knees and thin legs, it's harder for a giraffe to dance than the other animals. Gerald is finally able to dance to his own tune when he gets some encouraging words from an unlikely friend.
A documentary short exploring the conversations during end-of-life care with pediatric Palliative care specialist Dr. Nadia Tremonti. Filmed in Detroit at the Children's Hospital of Michigan over several years 'Palliative' aims to draw attention to a vital area of care struggling to overcome the stigmas of death and dying.
K'Sai Chivit: Threads of Life documents the ancient art form of Khmer silk weaving and its place in Cambodian society today. For over a thousand years, Cambodian weavers have been producing a variety of elegant silks, however current societal hardships Cambodians face have dramatically hindered this production. Organizations like UNESCO have began to take part in the revitalization of Khmer weaving, and have established training programs across the region to increase job opportunities and economic independence.
BITTER ROOTS: THE ENDS OF A KALAHARI MYTH is set in Nyae-Nyae, a region of Namibia located in southern Africa's Kalahari desert, traditional home of the Ju/'hoansi. It updates the ethnographic film record begun in the 1950s by John Marshall, whose films documented 50 years of change, and who together with Claire Ritchie, established a grass-roots development foundation, which Adrian Strong (the filmmaker) joined in the late 1980s. Through archival footage and discussions with community members, this film sensitively examines the problems (lions, elephants, conservationists) currently facing the Ju/'hoansi and challenges the myth that they are culturally unable to farm. The film investigates the perpetuation of this myth by showing how tourists and filmmakers still demand to see how people used to live rather than they way they live now, and how the Ju/'hoansi cope with such expectations, while steadfastly continuing to farm against all the odds.