Justice Redefined: Ukraine's Frontline Journalists

The movie explores the origin of the Ukrainian language and persecution of those who defended its authenticity. Using examples of other countries, creators of the film prove that a nation cannot exist without a language.

In this intimate portrait addressed directly to Hélène Hazera, filmmaker Judith Abitbol revisits a key figure of France’s countercultures from the late 1960s to the 1990s. A member of the Gazolines and the FHAR (Homosexual Front for Revolutionary Action), Hazera was a tireless LGBTQ activist who founded Act Up’s Trans and AIDS commissions—one of her proudest achievements. Her true victory, however, was becoming the first transgender journalist at a major national newspaper (Libération), and later a producer at Radio France and France TV. Through her story, Abitbol reconnects with the insurrectionary spirit and creative chaos of those decades—an era when French culture was shaken by radical imagination, humor, and defiance. The film celebrates these modern Antigones who dared to live their desires beyond the reach of any law.

The love story of successful businessman Alexei and young doctor Dimitri unfolds against the backdrop of Russia’s escalating anti-LGBTQ laws and the invasion of Ukraine. Meeting in secret during COVID lockdowns, the couple faces criminalization, police raids, and the looming threat of being sent to the front line. Their fight for freedom takes them across three continents in a desperate bid to live authentically and without fear. First-person testimony is blended with striking animation and dramatic reenactments.

An investigative reporter seeks to expose the whereabouts of a slush fund belonging to the former president of South Korea, Lee Myung-bak.

The little-known story of Ukrainian children torn from their homes in the crush between the Nazi and Soviet fronts in World War II. Spending their childhood as refugees in Europe, these inspiring individuals later immigrated to the United States, creating new homes and communities through their grit, faith and deep belief in the importance of preserving culture.

There were two wars in Iraq--a military assault and a media war. The former was well-covered; the latter was not. Until now... Independent filmmaker, Emmy-award winningTV journalist, author and media critic, Danny Schechter turns the cameras on the role of the media. His new film, WMD, is an outspoken assessment of how Pentagon propaganda and media complicity misled the American people...

Résistants, Collabos - Une lutte à mort

Three juxtaposing stories taking place in Portugal, Austria and Cuba create an intimate and poetic portrait of the daily lives and struggles of the elderly in an unstable world, seen through the eyes of their grandchildren.

The story of the last months of the 20-year war in Afghanistan through the intimate relationship between American Green Berets and the Afghan officers they trained.

In 2016, a young Austrialian filmmaker began documenting amateur inventor Peter Madsen. One year in, Madsen brutally murdered Kim Wall aboard his homemade submarine. An unprecedented revelation of a killer and the journey his young helpers take as they reckon with their own complicity and prepare to testify.

Augusto and Paulina have been together for 25 years. Eight years ago, he was diagnosed with Alzheimer's disease. Both fear the day he no longer recognizes her.

In Japan, there is an informal agreement between mainstream media and the government that is hardly ever questioned: Journalists are not too persistent in their criticism, in turn representatives of the government grant direct access to select information through press conferences. Isoko Mochizuki, reporter for the Tokyo Shimbun newspaper, has established herself as a spoilsport in this system.

At five o'clock in the evening, Red Cross and OSCE observers leave the front line and leave the fighters under fire. Hypocrisy takes over, and here begins the story of these women, which first kicked off in Maidan Square in Kyiv. Heartache and hatred, broken love, wrong decisions and yet hope for a new life, even in the face of death. This is a documentary about the war that broke out in the spring of 2014 in Eastern Ukraine through the eyes of women.

An account of the professional and personal life of renowned American photographer Annie Leibovitz, from her early artistic endeavors to her international success as a photojournalist, war reporter, and pop culture chronicler.

Through dramatic reconstruction and documentary asides, the spirit of Italian poet, playwright, journalist, aristocrat and army officer Gabriele D’Annunzio is captured, presenting the nascent fascism in his attempts to forge a new state in the aftermath of the First World War.

La vengeance de Poutine

CNN camerawoman Margaret Moth fearlessly captures footage of war zones. After receiving catastrophic injuries in the crosshairs of battle, she returns to work with more courage than ever. An intimate portrait of a trailblazing female photojournalist. Features interviews with Moth’s family and friends, including CNN’s Christiane Amanpour. A Sundance film festival premiere directed by Lucy Lawless.

High up in the Northern California mountains there is a place, where not too many get to visit. Its called - The Emerald Triangle, real mecca of Americas cannabis game. Follow a ukrainian journalist Luka on a journey that explores lifes of real growers and hustlers and the dangers that come with it.

A total of 17 journalists have been fired since 2008, the beginning of LEE Myung-bak’s presidential term. They fought against the companies that they worked for succumbing to power and are now frustrated at reality where censorship of the press by authority has now become a norm. Can they continue their activities as journalists?

In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.