The Gods of Our Fathers

The Other Side of Burka is a 2004 Iranian documentary directed by Mehrdad Oskouei. In the southern island of Qeshm, Iran, which is a very strict region in point of tradition and African-Arabic rules, all women are under the pressure of patriarch society. Their sufferance is manifested by different mental (Zar, Possession) and physical diseases which must be only treated by Zar Ceremony. For the first time, despite the danger these women face, this film tells us the sad story of their life and shows their confection in front of the camera. It tries to be an honest mirror which reflects their sufferance and unveils their Burka to reveal their real characters.

Breaking a centuries-old taboo, Ava stands as the first woman in Iran to master the male-dominated craft of carpentry. Within the grit and clamor of the workshop, she confronts a society that deems her presence forbidden. This observational documentary captures her daily battle against physical hardships and social judgment.

This is an intimate and fragmented portrait of what it means to fall in love in the 21st century. Where desire, breadcrumbing, and vulnerability intertwine in a process of falling, self-creation, and pure frenzy.

The voices of women who do not know each other come together collectively for equality, and question the boundaries of the patriarchal order that surrounds not only women but also men, society, and all life. This shared narrative combines with their reflections, inviting the viewer to rethink gender equality, freedom, and the invisible boundaries that shape everyday life.

Les pères sont des mères juives comme les autres

Puolanka, a tiny village in Northern Finland is famous for its population decline, but also for its dark sense of humor about it. As the long summer evenings stretch out, teenage boys celebrate their new driver’s licences by endlessly circling the same few streets, while an older generation of local gents, proudly known as The Parliament, has already parked itself permanently at the petrol station café. Here, hunting and the legendary “Pussy Rally” aren’t taboos but badges of cultural identity. The only mystery that seems unsolved: where have all the women gone?

Men: The Origins

The film documents modern slave trade through a number of African countries, under dictatorship rule. The filming was conducted both in public places, and sometimes with the use of hidden cameras, for high impact scenes of nudity, sex, and violence - and a few surprises, as slaves made out of peregrins to Asia, and slave traders paid in traveller checks.

A documentary exploring sexism and patriarchy in Kosova.

L'homme qui a fait de Gaulle

Since 1995, the TransAsia Sisters Association has been a pioneering force in supporting immigrant women in Taiwan, especially marriage migrants. What began as a small literacy class has grown into a vibrant community that empowers women to organise, speak out, and advocate for their rights. The film explores the struggles of belonging, the strength of sisterhood, and the quiet power of everyday resistance. From street protests to storytelling through food and culture, the Sisters continue to reshape the narrative of migration—one voice at a time.

Given the fetishizing and normalizing character that is given to motherhood in patriarchy in order to perpetuate the social order, do we truly choose to be mothers? Why is care, of fundamental vital labor, presupposed as an especially appropriate task for women?

Matilda Pierre, a 26-year-old Guyanese actress, chooses to tell her story and publicly embrace her sexual orientation in a society where homosexuality remains largely taboo. Attracted to women, men, and transgender people, she must deal with insults, threats, and the weight of others’ judgment. Through her testimony, Matilda reveals the reality experienced by many young LGBTQIA+ people in French Guiana. The documentary also gives voice to other young people, such as Marcus, a bisexual Amerindian who hides his orientation for fear of rejection from his family. Between silence, fear, and social pressure, many live their identities in the shadows.

A convicted felon builds a feminist movement from behind bars at an all-male prison in Soledad, California.

La randonnée, une affaire qui marche

A grandmother dies and leaves behind hours of secret film and audio recordings as well as an envelope with the words “Must read after my death,” which reveal a dark history for her family to discover.

At a time when French flags are being burned and French embassies targeted, this documentary delves into the growing disaffection between French-speaking Africa and the former colonial power. Through the voices of African leaders, pan-African activists, and committed young people, the film questions the persistence of a relationship marked by the aftermath of colonization, the opaque agreements of "Françafrique," and a military presence deemed paternalistic.

Now that contraception is controlled by women, men seem to experience carefree sexual freedom. In reality, they lose autonomy over their own seed. Director Lynn Deen started the film out of frustration: Why was the woman always the one to carry the burden that comes with lust? Gradually she saw that this luxury position actually places men in a dangerous position of dependence. They have virtually no control over both the prevention and the termination of a pregnancy. That is why they should be more involved in preventing pregnancy. Not only for women, but especially for themselves.

A film on mountain-climbing in Grand Teton National Park, Wyo. Glenn Exum, Virginia Garner, and Paul Petzoldt demonstrate mountaineering techniques and equipment. They reach the peak, shake hands, and rappel and glissade to base of mountain.

Making of the cinematographic shooting of "Premier de cordée" directed by Louis Daquin in the Mont-Blanc massif. In 1943. Alain Pol films the risky adventure of filming in the high mountains with a team of seventy people. The images of the making-of reveal the technical constraints encountered by the actors and technicians: falling rocks, crossing glaciers and long approach walks at altitude to the filming locations. Six actors and technicians will also be injured and the main role - that of Pierre - will be reassigned to André Le Gall following a bad fall by Roger Pigaut.