Chicken Hawk: Men Who Love Boys

A very human tech doc, uncovers the real costs of the platform economy through the lives of workers from around the world for companies including Uber, Amazon and Deliveroo. From delivering food and driving ride shares to tagging images for AI, millions of people around the world are finding work task by task online. The gig economy is worth over 5 trillion USD globally, and growing. And yet the stories of the workers behind this tech revolution have gone largely neglected. Who are the people in this shadow workforce? It brings their stories into the light. Lured by the promise of flexible work hours, independence, and control over time and money, workers from around the world have found a very different reality. Work conditions are often dangerous, pay often changes without notice, and workers can effectively be fired through deactivation or a bad rating. Through an engaging global cast of characters, it reveals how the magic of technology we are being sold might not be magic at all.

In late 1955 and early 1956, the citizens of Boise, Idaho believed there was a menace in their midst. On Halloween, investigators arrested three men on charges of having sex with teenage boys. The investigators claimed the arrests were just the tip of the iceberg-they said hundreds of boys were being abused as part of a child sex ring. There was no such ring, but the result was a widespread investigation which some people consider a witch hunt. By the time the investigation ended, 16 men were charged. Countless other lives were also touched.In some cases, men implicated fled the area. At least one actually left the country. The investigation attracted attention in newspapers across the nation, including Time Magazine. The "Morals Drive" left scars which remain to this day.

Now I lay me down to sleep, I pray the Lord my Soul to keep. If I should die before I wake, I pray the Lord my Soul to take.

Michelle Martin, Monique Olivier, and Karla Homolka shared the lives of fearsome pedophile predators with full knowledge of the facts and sometimes even participated in their crimes. They all have in common that they present themselves as victims, but the experts who testify in this report are far from sharing this vision.

An Oscar nominated documentary about a middle-class American family who is torn apart when the father Arnold and son Jesse are accused of sexually abusing numerous children. Director Jarecki interviews people from different sides of this tragic story and raises the question of whether they were rightfully tried when they claim they were innocent and there was never any evidence against them.

Three women share their experience of navigating the app-world in the metro city. The sharings reveal gendered battles as platform workers and the tiresome reality of gig-workers' identities against the absent bosses, masked behind their apps. Filmed in the streets of New Delhi, the protagonists share about their door-to-door gigs, the surveillance at their workplaces and the absence of accountability in the urban landscape.

WELCOME TO THE ALAMO DRAFTHOUSE CINEMA, the most awesome post-modern hot spot for exploitation movie revival, deep in the heart of Texas! Home to world-famous events such as The Quentin Tarantino Film Fest, Fantastic Fest and Butt-Numb-A-Thon, the Alamo is one of the last places on earth where you can still see grindhouse classics such as THE DEVIL WITHIN HER and MAD MONKEY KUNG FU. Now, the Alamo has opened their vaults for a peek at some of the most outrageous cinematic gems from several golden ages of sleaze cinema. Digitally re-mastered in high-definition from the actual reels that show every week at the Alamo, this exciting edition of the 42ND STREET FOREVER series is the most bizarre, the most terrifying and the most hilarious one yet!

When Nina was 8 years old, the foster father's sexual abuse began. Nina tried to convince herself that this incomprehensible thing was not true.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

A pseudo-documentary, “Samarang” tells the story of lowly Ahmang (Captain A.V. Cockle) and his socially superior love, Sai-Yu (Theresa Seth). Both live in the village of Samarang in the Indian Ocean. Because Sai-Yu is the daughter of a chief and Ahmang is but a poor fisherman, he needs to increase his wealth before asking for her hand. Thus he accepts the perilous offer of the wily Chang-Fu, who seeks pearl divers. Ahmang must brave the treacherous waters of the Forbidden Lagoon of Sakai, home to bloodthirsty cannibals, killer sharks, and a monstrous grasping octopus. Sai-Yu and Ahmang’s younger brother Ko-Hai come along for kicks, too. Ahmang finds his pearl, but he and Sai-Yu are stranded on the island, where they befriend a local orangutan. When they return to the boat, a shark kills Ko-Hai, and Ahmang must get revenge.

The question of "who hunts virgins" and more will be stripped down and explored in the sexiest trailers hosted by Playboy's Nikki Leigh.

Exposing the dark underbelly of modern animal agriculture through drones, hidden & handheld cameras, the feature-length film explores the morality and validity of our dominion over the animal kingdom.

Every day, at Lapeyronie hospital in Montpellier, France, a psychologist and a psychiatrist treat pedophiles and child sexual offenders. Behind closed doors, hidden away from sight, they listen to their stories, help put words to acts and impulses. And they fight for basic prevention systems to be funded and put into practice.

Taking a detour from the usual settings of Africa and South America, this mondo film focuses on Japan and Sweden, exploring strange and unusual scenes like the effects of pollution in a Japanese fishing village, esoteric psychotherapy methods, assisted fertilization, heatt surgery, sex education for blind children in sweden, military training for young Palestinians in Lebanon, a female priest celebrating mass and a school for children with phocomelia.

A stark documentary about young male prostitutes in Prague, aged 15 to 18, who work the streets, train stations, and clubs. Through candid interviews and behind-the-scenes footage of gay porn shoots, the film explores their lives, struggles, and dreams, touching on themes of exploitation, identity, AIDS, and survival.

Not My Life comprehensively depicts the cruel and dehumanizing practices of human trafficking and modern slavery on a global scale. Filmed on five continents, in a dozen countries, Not My Life takes viewers into a world where millions of children are exploited through an astonishing array of practices including forced labor, sex tourism, sexual exploitation, and child soldiering.

Cousins Menahem Golan and Yoram Globus relive the creation, rise and fall of their independent film company, Cannon Films. This documentary recounts their many successes and discusses their eventual downfall.

A boy migrates from Guerrero to Colima in Mexico, guided by the illusion of his parents, who want him to study high school. Nevertheless, the inequality barriers force him to work as a sugarcane harvester.

A team of journalists investigate how human trafficking and child labor in the Ivory Coast fuels the worldwide chocolate industry. The crew interview both proponents and opponents of these alleged practices, and use hidden camera techniques to delve into the gritty world of cocoa plantations.

As a child, Michael Stock was sexually abused - by his own father. 25 years later he is still looking for inner peace. In conversations with his family and friends and his own reflections, he paints an ever clearer, if contradictory picture of what happened and of the consequences for each of the family members. Old family films seem to show a happy family - excerpts from Michael's first feature film hint at his extreme adult life, overshadowed by his lifelong trauma. Yet in spite of the intense drama, the film doesn't have an atmosphere of anger and hatred but rather a surprising air of hope and love of life. Michael's aim is not to accuse the "perpetrator" but to understand. In the end, he takes his video "Postcard" to his father. With the camera running, he confronts him with his past.