We Used to Be Friends.

Twenty-five films from twenty-five European countries by twenty-five European directors.

Two old sisters, living in the same Warsaw apartment, sit on a bench and talk. The 87-year-old elder one seems to care for the other reluctantly and treat her badly. The younger, who is said to be clumsier, has walking problems.

The action is placed in a cramped flat in Warsaw’s district of Ochota. A father and a son, both bedridden, live in a fascinating symbiosis. The son, a well‑known photographer Bernard ben Dobrowolski, is lying in bed because a chronic condition has deformed his body and immobilized him. The father, Dominik, has recently suffered from a stroke. Now they are taking care of each other and crowds of visitors move through their room.

The child of Holocaust survivors, CNN Anchor Wolf Blitzer, takes viewers through the United States Holocaust Memorial Museum and beyond, connecting the hours of the Holocaust and their modern parallels and his family story.

What we show in Milk is literally the best of the best when it comes to dairy farming, yet, as soon we view what happens from the perspective of the mother cow, it becomes clear that this is an industry that runs on the exploitation and suffering of animals. By using animation, we are able to show a unique perspective and tell the story of the mother cow in a way that cannot be done from investigative footage alone. Milk centres the cow as the protagonist of her own story and allows us to view what is happening to her from an up close and personal perspective. Organic, free-range, high-welfare, humanely raised. It doesn’t matter what label we put on dairy products, all dairy cows are victims of an industry that forcibly impregnates them, takes their babies from them, exploits their bodies and then sends them to a slaughterhouse to cut their throats. It's time to end the dairy industry.

One neighborhood in New York City, March 2020: the coronavirus is spreading rapidly, the federal government is clueless, and life seems increasingly surreal. A month later, the city has become an epicenter of the pandemic as the death rate spirals upwards. Then the racial justice protests erupt... Strange Days Diary NYC is an intimate account of living through a disruptive, frightening, yet inspiring time.

On April 1st, 2022, my grandfather passed away and i felt lost. I think my path changed when, some days after he passed away, i was offered a small VHS camera. "Moving Memories" is a visual journey that makes the viewer reflect on our momentary presence on earth and questions the nature of memory. Throughout this journey, we get to the conclusion that memories are more than just static photographs in our minds, they're alive and in constant movement, changing while we evolve as individuals. These memories have influence and help us to move on.

Les Glucksmann, une histoire de famille

In 2011, photographer Tanja Hollander decided to visit each one of her Facebook "friends" (all 626 of them) in their homes and make formal portraits of each of them. Armed with her cameras and iPhone, Tanja traveled throughout the U.S. and around the world for 5 years, meticulously documenting her experiences in real time and creating a historical narrative, both visual and written, along the way. Her project is an exploration of friendships, the effects of social networks, the intimate places we call home and the communities in which we live.

Through the footage from his family's Handycam, the director creates a portrait of his family that is falling apart.

A study of the behavior of monkeys in the African jungle.

The courtship behavior of Great Bustards is studied. The male Great Bustard is considerably larger than the female. This impression is reinforced during courtship when the male dances in front of the female, showing the light undersides of its wings and inflating its throat pouch.

Zebra finches and Japanese gulls are shown, as well as the rearing of young zebra finches by Japanese gulls. Despite considerable differences in the appearance of the nestlings, the gulls provide their own and the foreign young with food equally. The male zebra finches raised by the foreign species later direct their courtship behavior exclusively towards the stepparent species, i.e. they are sexually imprinted on the foreign species.

In Unión Hidalgo, Oaxaca, México, there is a group of people who pay homage to living characters in the community through urban murals, generating an identity that is reflected on the walls of traditional houses.

People destroyed the Ali Akbar Sanati Museum, an Iranian painter and sculptor, and all his works were destroyed. Mordad 28, In 1332, many people were burned alive in the fire of Rex Cinema, 28 years later on the 25th, they repaired The House of History movie. This film is an experimental fiction film, with links to images of the last survivor of the Sanati Museum, namely the sculptures of prisoners in prison, and the voices of the history of Iranian cinema, from the Sasanian era to the Constitution and the Islamic Revolution.

The camera slowly pans through a room as Smolders offers various observations and memories.

Under the sign of the swastika, it was, amongst other things, turned into a naval base, it got heavily destroyed in two waves of attack in April of 1945 by British bombers. After the war, Heligoland was made available as bombing training ground for the English army by the West-German government. Seven young people occupied the isle and began to repair the emergency shelter for sailors who got in danger. This and further major actions eventually ended the bombing exercises. Back then, the watchword was: “Heligoland to the Germans! “ – “Heligoland for peace!”

The film returns to the origins of the creation of the State of Israel (from 1896 to 1948) and highlights the responsibility of the Western World.

In this new video essay, filmmaker Alexandre O. Philippe delves into the dread-inducing mood and tone of Kiyoshi Kurosawa’s modern horror classic Cure, deploying a dizzying range of cinematic references to unravel the film’s eerie magic.

This film essay is inspired by Leonid Trauberg's eponymous autobiographical text. It also sheds light on his public condemnation in 1949 as a leader of the "cosmopolitans," accused of "only causing harm to Soviet cinema," as well as his enthusiasm for silent slapstick comedies, the novels of P.G. Wodehouse and G.K. Chesterton, and his fascination with the lost FEKS film, The Adventures of Octobrine.