Design: Fantasy

A short government funded industrial documentary showing the hard work and craftsmanship of labourers in the leather industry that otherwise goes unnoticed, (deserving as much attention as the exploits of a famous boxer).

A short documentary funded by the Belgian Ministry for foreign affairs showing the manufacturing and transportation of Belgian locomotives.

Internet comedian Carl Déman from the humor group JLC lived a life that looked glorious. But beneath the surface was a terrible gambling addiction that almost cost him his life. In 2019, he and other gambling addicts struggle to stay afloat in a contemporary age marinated in gambling advertising. Carl wants to ask those who make the advertising how they think and wonders why the advertising profiles now also come from the world of culture and entertainment.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

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.

Over the years, Joe Swash’s magnetic personality has endeared him to millions of TV viewers, but now he is delving into something more serious, and more personal. This documentary follows Joe as he explores the stories of teens in care over the age of 16, the largest-growing cohort in both child protection and care.

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

For 18-year-old Finnish–Kosovan Fatu, a simple visit to the grocery store feels as nerve-racking as a lunar expedition: for the first time in his life, he’s wearing makeup in public. Luckily his best friend Rai, a young woman on the spectrum of autism, is there to ferociously support him through the voyage.

João Pedro Rodrigues answers the question from the title with an autobiographical short-film.

Jerry Wald has to write about radio, visiting Sid Gary gives him the tip it might be more easy for him to write this article at the radio station than at his newspaper office. At the studio they listen to the Boswell Sister's rehearsal, which is interupted by some not so friendly remarks by orchestra leader Abe Lyman, they listen at the door, where a Colonel Stoopnagel broadcast is prepared, as well as to the rehearsal of a new song for an broadcast by Kate Smith.

In a nightclub setting, Jimmy Dorsey and His Orchestra, with two of his vocalists, perform four of the group's best known songs. For the complete list of songs, check the soundtrack listing.

In a comparative study between different forms of calligraphy, the film traces parallels between modern Japanese painting and traditional Japanese writing.

A Chinese Canadian son sets out to make a film on his mother, who was once known as the first ever Chinese Opera Singer to have performed Pingju Opera in English in late 1980's China.

The first documentary film ever made about psytrance. It tells the story of “Drugless Festival”, better remembered in Israel as “Huga Festival” that took place in Ganey Huga, a water park in the North of Israel, for 3 days, back in the summer of 1997.

After opening scenes showing volcanoes of Java, an underground river, waterfalls, cloud effects, a coral island, the Ghost Rocks of Buru, and a tiger hunt in Siam, documentary footage of the cannibal tribes of New Guinea is framed by a fictional narrative in which the scientific expedition is shipwrecked along the southern New Guinea coast in the land of the Kia Kia headhunters, thus affording the crew the opportunity to film the tribal customs of these cannibals.

Documentary about the making of Juzo Itami's film "Tampopo" (1985).

A documentary of insect life in meadows and ponds, using incredible close-ups, slow motion, and time-lapse photography. It includes bees collecting nectar, ladybugs eating mites, snails mating, spiders wrapping their catch, a scarab beetle relentlessly pushing its ball of dung uphill, endless lines of caterpillars, an underwater spider creating an air bubble to live in, and a mosquito hatching.

Film critics, actors, film historians and other personalities share their experiences and curious stories on the acclaimed Billy Wilder's masterpiece "Sunset Blvd."; its cultural importance by being one of the most iconic and revolutionary films ever made and a picture that still stands the test of time.

As daylight breaks between the border cities of El Paso, Texas, and Juarez, Mexico, undocumented migrants and their relatives, divided by a wall, prepare to participate in an activist event. For three minutes, they’ll embrace in no man’s land for the briefest and sweetest of reunions.

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.