For over 70 years Colombia has been subject to an internal armed conflict whose demarcation lines seem to have become blurred over time. An insidious creeping violence has gradually pervaded the whole of society. Impossible as it is to tell this story in one unified narrative, the history behind this violence seems to take form through a multitude of traces.
As French kindergarteners pour forth for recess, play takes on epic proportions. In every corner, some miniature drama is unfolding. Violence, love, jealousy, treachery are all here! This is human society in the making.
It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingeborg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus.
The Ta'ang or Palaung people, an ethnic minority living in the mountainous area between Myanmar's Kokang region and China's Yunnan province, have historically suffered many forced migrations due to war. When their survival is threatened again in 2015, thousands of them flee across the border. Filmmaker Wang Bing accompanies them and becomes a privileged witness to a human story that is both a modern reportage and a mythical epic.
A glimpse into the unique mind of Brooklyn-based artist and entrepreneur Stefan Pokorny. Director Josh Bishop weaves memories of Stefan’s tumultuous childhood with his current struggles and triumphs to paint a mesmerizing portrait. An art prodigy obsessed from a young age with Dungeons & Dragons, Stefan navigates absurd adventures—from Wisconsin to Venice to Bushwick—on a quest to bring his most personal project to life through an ambitious multimillion dollar Kickstarter campaign.
Marina Abramović travels through Brazil, in search of personal healing and artistic inspiration, experiencing sacred rituals and revealing her creative process. The route is comprised of poignant encounters with healers and sages from the Brazilian countryside, exploring the limits between art and spirituality. This external trip triggers in Marina a profound introspective journey through memories, pain and past experiences.
A conceptual bicentennial film dealing with spatial and temporal relationships between two travelers, their car, and the geographic, political, and social changes from NY to Los Angeles.
Follows the story of Viktor Purice - manager, former projectionist and lifetime cinephile and his two loyal employees, Cornelia & Lorena, in their everyday battle to preserve Dacia Panoramic Cinema in Piatra Neamt - one of the last remaining cinemas in Romania today. Having lived through "the golden age" of cinema, Viktor dreams of bringing back the good old glory days, yet struggles to keep up with the new harsh reality. In a theater that lacks heating and is slowly falling apart, with no support from the State who owns the place, it’s almost a Don Quixote fight.
When documentarian Josh Fox realizes, after much soul searching, that the answers for how to respond to the degradation of our environment cannot be found in his own back yard, he travels the world to connect with communities that are already facing grave effects of climate change. What he finds is a complicated mix of tragedy and inspiration in the various ways climate change is affecting our value systems. How to Let Go of the World delivers a sobering portrait of the state of climate change, and takes stock of what makes humans survivors, and our societies so creative and resilient.
PROJEKT A is a documentary that resists the common clichés about anarchism to instead show anarchist ideas of a society in which no one shall have the power to control knowledge, natural resources, land, soil or other people. After inspiring over 25,000 German cinema-goers, this award-winning documentary about anarchism and anarchist projects in Europe is now available on VoD!
“Projekt A stirs up the audience and is grippingly shot, getting close to the kinds of tenacious people who are so vital to change in our society.” (kinokino)
“…a cinematic portrait, not of anarchy, but of anarchists. A story, not of possibilities, necessities or even failure, but a depiction of achievements, initiative, action, ideas, as well as success.” (kino-zeit.de) Audience Award Filmfest Munich
An unvarnished look at the heroin epidemic sweeping America's small towns and communities, focusing on on eight young addicts in idyllic Cape Cod, Mass.
A documentary that addresses sexuality in people with functional diversity through six real stories which show that sex belongs to everybody. It explores not only what sexuality can do for the people with disabilities, but what functional diversity may contribute to human sexuality. It breaks the pairing dependence-infantilization using explicit images that portray disabled people as sexual and sexed beings and as desiring and desirable bodies.
Forced onto the streets in her 50s, Marie found "home" at a Santa Monica laundromat. Taking shelter there for 20 years, Mimi's passion for pink, and living without looking back, has taken her from homelessness to Hollywood's red carpets.
Songbirds are disappearing at an alarming rate. The Messenger is a visually thrilling ode to the beauty and importance of the imperiled songbird, and what it means to all of us on both a global and human level if we lose them.
The Madness of Max is a feature-length documentary on the making of arguably the most influential movie of the past thirty years. With over forty cast-and-crew interviews, hundreds of behind-the-scenes photographs and never-before-seen film footage of the shoot, this is without a doubt the last word on Mad Max (1979).Interviews include: George Miller, Byron Kennedy, Mel Gibson, Hugh Keays-Byrne, Steve Bisley, Roger Ward, Joanne Samuel, David Eggby, Jon Dowding and many more. From the Producers to the Bike Designers to the Traffic Stoppers, this is the story of how Mad Max was made.
Two cameras mounted on tripods with wind vane attachments were positioned about 50 feet apart along an axis of 45 degrees to the direction of the wind. Both cameras were free to pan through 360 degrees in the horizontal plane. There are three continuous 100 foot takes for each screen. The movements of the two cameras, which were filming simultaneously, were controlled by the wind strength and direction.