Dim Sum (A Little Bit of Heart)

One day, in Savigny, an 18-year-old boy left his house in the middle of the war, saying: "I'm leaving, I'm going to kill Hitler." His name was Joseph, he was Jewish, he was my great-uncle. He disappeared during the night of the Occupation, and his existence became a family secret. He disappeared from history, the small as well as the big: he is not on any deportation list, and the only archive where he appears is a family photo of him as a child. It disappeared like a stone at the bottom of the water, instead of going up in smoke in the sky of Poland. What did he become? And why didn't anyone mention his name anymore?

Juan Méndez Bernal leaves his house on the 9th of april of 1936 to fight in the imminent Spanish Civil War. 83 years later, his body is still one of the Grass Dwellers. The only thing that he leaves from those years on the front is a collection of 28 letters in his own writing.

When a Mongolian nomadic family's newest camel colt is rejected by its mother, a musician is needed for a ritual to change her mind.

What would your family reminiscences about dad sound like if he had been an early supporter of Hitler’s, a leader of the notorious SA and the Third Reich’s minister in charge of Slovakia, including its Final Solution? Executed as a war criminal in 1947, Hanns Ludin left behind a grieving widow and six young children, the youngest of whom became a filmmaker. It's a fascinating, maddening, sometimes even humorous look at what the director calls "a typical German story." (Film Forum)

In rural Kosovo, identical houses are built for family members working abroad, in the hope that they will one day return to settle in their old homeland.

Arctic Tale is a 2007 documentary film from the National Geographic Society about the life cycle of a walrus and her calf, and a polar bear and her cubs, in a similar vein to the 2005 hit production March of the Penguins, also from National Geographic.

Documentary about the making of ’Spring Break Zombie Massacre.’

The documentary's title translates as "to be and to have", the two auxiliary verbs in the French language. It is about a primary school in the commune of Saint-Étienne-sur-Usson, Puy-de-Dôme, France, the population of which is just over 200. The school has one small class of mixed ages (from four to twelve years), with a dedicated teacher, Georges Lopez, who shows patience and respect for the children as we follow their story through a single school year.

A love letter to Mar del Plata made of images, times and a road trip. "The Happy Ones" is an experimental short documentary composed of past and present family footage. It portrays a place in the summer, the city of Mar del Plata, with a span of 20 years between past and present images (January 2000 and 2020). Despite the time that passed by, it's beaches, essence and people remain, always willing to keep dancing.

In Uganda, AIDS-infected mothers have begun writing what they call Memory Books for their children. Aware of the illness, it is a way for the family to come to terms with the inevitable death that it faces. Hopelessness and desperation are confronted through the collaborative effort of remembering and recording, a process that inspires unexpected strength and even solace in the face of death.

Documentary that shows the changing attitude towards immigrant labor in The Netherlands. The documentary follows three immigrants that arrived in Holland 30 years ago to work in a bakery.

Follow along as “budding YouTuber” Jack Carlin makes the hilariously unnecessary trip to the UK (over 3,000 miles) for a single day in order to compete in an animation quiz.

Through archival footage of his parents' wedding, the filmmaker reflects on love and marriage in contemporary Serbia. Observing traditional Balkan rituals, he questions his own place as an LGBT individual in a society resistant to equality. The film explores the tension between tradition and modern love, and the hope for a future where everyone can experience love freely. Through his personal journey, he confronts family expectations and dreams of acceptance.

Echo is a youngster who can't quite decide if it's time to grow up and take on new responsibilities-or give in to her silly side and just have fun. Dolphin society is tricky, and the coral reef that Echo and his family call home depends on all of its inhabitants to keep it healthy. But Echo has a tough time resisting the many adventures the ocean has to offer.

During the rice sowing season, Jun, a young Catalan of Chinese origin, works as a seasonal worker in the Ebro Delta. This ancient labour will make him confront his own roots and the distance that separates him from his family.

The hairstyles of four Afro-descendant people from Mexican - Senegalese families, represent the starting point to reflect, through memories that emerge from their past and present, what it is like to live in México wearing a Black Crown and the consequences that implies.

Through first person narration, Tari reveals personal stories related to her decision to work in Taiwan, her strained family relationships, the risks involved in working abroad and the traps she has fallen into.

Wheels of Fate is a short documentary film about identity, belonging and acceptance. It reflects on Ryan Espadilla's experience immigrating to New Zealand. This film features the euphoria and sanctuary of inline skating as Ryan reveals inner struggles, trials and aspirations as he journeys towards a sense of belonging. It captures observation that speaks to the intricacies of the immigrant experience and the passion of inline skating.

The documentary film "There is no turning back" by Stéphane Kleeb tells the story of the Tibetan siblings Losang and Dechen Barshee, who came to Switzerland as refugee children in 1964. After a difficult childhood in various foster families, they return to Tibet with their mother 40 years later. This journey confronts them with the alienation from their mother and their changed homeland. The film addresses homelessness, uprooting and lost dreams.

Painter Zdzisław Beksiński, his wife Zofia and their son Tomasz, a well-known radio journalist and translator, were a typical and unconventional family, both at the same time. One of the father’s obsessions was filming himself and his family members. Using archival footage only, shot primarily by Zdzisław, as well many other materials, which have not been presented anywhere so far, the film tells a tragic story of the Beksińskis that has never ceased to fascinate Polish filmmakers.