As Janelas Me Diziam Que Os Carros Cor De Lembrança Ainda Percorriam as Movimentadas Ruas do Esquecimento

Religious imagery in Curado I, a small neighbourhood in the northeast of Brazil.

A frenetic found-footage documentary made entirely from “lost” unlabeled media on YouTube - weaving together nearly a thousand raw videos, each mistakenly or mindlessly uploaded under a generic filename (e.g., IMG 1326, IMG 5493…).

Seven images, each staging their own disappearance.

An exploration of the space where femininity and criminality collide. The film collages archival footage clips culled from silent films, original footage and computer-generated imagery with a series of narratives drawn from true crime confessions, early criminological texts, and the filmmaker's own reflections. The result is a cool and piercing meditation on the way the categories of "woman" and "criminal" have been constructed.

Karel Vachek’s graduate film offers us a documentary essay which is both a light-hearted and aggressive little piece and also a parody of investigative film journalism. The Strážnice folk festival, backed by the cultural Party apparatus of the time, for years had little to commend itself to authentic folklore. In the film the event assumes the form of a bizarre stage spectacle with almost surrealistic elements that Vachek reinforces with unconventional approaches (commentary appearing as titles on screen, singing, declamations into the camera, feature etudes, the fusion of news coverage and fiction). The result is a stirring film collage depicting various characters, from crowd-pleasers, Easter egg decorators, kitsch artists and peddlers, to museologists and local residents, all of whom come up against the eccentric "identical” twin reporters Karel and Jan Saudek and a bored actress who appears as an extra. Using their special blend of irony and wit, they present us with the sad truth.

Africa, a trans woman dedicated to musical representation and comic entertainment on Facebook exhibits her daily life through live broadcasts, having success and a large influx of viewers. This while she is getting ready for her special program in honor of her best friend Vicenta de Loris, since a year has passed since her life was taken from her.

Depois dos Gigantes de Ferro

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

Innocent nature walk leads to a discovery of the morbid nature of humans.

The Moșilor Fair is an exercise by a student director who used his film before he had managed to finalize the originally planned movie. The result is a fascinating experimental montage, without music or sound of any kind, showing details of a legendary fair in the capital.

This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.

Feeling disgruntled, a group of punks start a litter picking group to counter the amount of litter their community faces.

A short documentary about a female truck driver in the United Kingdom.

This short film shot in a small town in Sweden navigates themes of nostalgia through an original monologue, reflecting on gender identity struggle and the pursuit of a new beginning in a foreign land.

47 Days, Sound-less by Vietnamese artist Nguyễn Trinh Thi is a film that explores the relationships between sound and silence, vision, language, colours and their absence. Nguyễn identifies “peripheries”—including natural landscapes used as backdrops, uncredited characters and soundtracks from American and Vietnamese movies—that reveal more-than-human perspectives. Offering new ways of looking and listening, 47 Days, Sound-less invites audiences to reflect on the inextricable relationship between a place and its inhabitants.

An inspiring 75min DIY documentary film on new art and the young artists behind it. It was all filmed on the heat of live action of the first NOVA Contemporary Culture Festival, July and August 2010 in São Paulo, Brazil.

Two young women try to adapt to a new city: nostalgia, loneliness, friendship and family are mixed throughout the emotional process of both characters. A reflection on the sense of belonging and the experience of being a foreigner.

Her first foray into documentary filmmaking was a short called Green Street (1959), a look at an over-loaded freight train departing from Prague. Though only nine minutes in length, Chytilová’s astute editing ensured a visual spectacle.

A Experimental Docu-Drama about the Red Army Faction's formation, and events leading up to their imprisonment and death, from 1970 to 1977.

IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.