El don del mar

With Pete Smith providing dry off-screen commentary, we watch some serious fishing: a marlin caught near Catalina, a hammerhead shark caught then wrestled in a small rowboat near Baja, the largest (721 pounds) great white shark caught to date in California waters, Chinook Indians catching salmon at Celilo Falls in Oregon - each with his designated place on the river where his ancestors stood, and, last, a crew on a boat off Mexico hoisting and hurling tuna using unbarbed hooks (baited only with a feather) as fast as they can as long as the school is there - backbreaking work - but a $25,000 catch.

The director explains his love for tuna meat which was in his family for generations.

A clash of true oceanic titans sees fights in the remote battlefields of Ascension Island. Tuna are often faster, fitter and bigger than the sharks.

Bananas, eggs, and tuna: three basic foodstuffs with three wildly different points of origin. Moullet begins with these on his plate but constructs his film by working backwards and finding the sources for these items and how they reach our plates. As Moullet’s investigation deepens, however, the film moves beyond the confines of a simple exploration of food origins into more political and social realms, not only relating to food but also to the medium of film.

Rick Rosenthal goes on a quest that plumbs the secrets of the legendary bluefin tuna. This fish can weigh up to 1,500 pounds and can move up to 50 miles per hour. Here he catches a bluefin tuna on camera.

Tuna are among the top predators in the oceans. But the hunter is also the hunted: many species are overfished. Can we use the riches of the oceans without destroying them?

Film director Branko Belan follows the journey of fishermen as they set out to catch tuna around the Velebit Channel.

From the book by the same name by Ninni Ravazza, "Diario di Tonnara" tells the story of the towns, villages, communities and adventures that dictate the daily lives of the tuna fishermen in Italy.

After the end of WWII, a young Lithuanian woman and a young Italian man from Stromboli impulsively marry, but married life on the island is more demanding than she can accept.

After an unusual meteor shower leaves most of the human population blind, a merchant navy officer must find a way to conquer tall, aggressive plants which are feeding on people and animals.

A Portuguese tuna fisherman catches his bride with his first mate.

Making lunch after the loss of a companion.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Kirat falls for a man she meets online, only to get swept up in a virtual relationship that upends her life for years, in this shocking documentary.

Jackie Brutsche tries to unravel the dark secrets of her family and answer unanswered questions about her mother.

Approximately 250 photographs by Roman Sejkot of a mentally handicapped swimmer which are wonderfully animated by the film's director. A selection of these photographs came third in the Sports Stories category in the 1993 World Press Photo competition.

In this playful experimental film, documentary maker and animator Pavel Koutecký captures Prague during campaigning for the first free elections in 1990. Old political posters recall an atmosphere of belief in democracy and disgust with the years of communist dictatorship.