They Called Us "Les Filles du Roy"

Filmed for over 10 years, this epic documentary presents the story of renowned Taiwanese choreographer Lin Lee-chen and her Legend Lin Dance Theatre. Extracting the essential details of Lin’s daily life, the film explores the origins of her dance, contemplates the poetic and ritualistic movements she creates, and delineates her lifetime pursuit of aesthetic concerns.

How did Hollywood pitch movies about gays and lesbians between 1956 and 1977? Here are theatrical trailers for 27 mainstream and art-house films, presented chronologically from "Tea and Sympathy" to "Outrageous!" More than half are films released between 1968 and 1972. Half are dramas and half are comedies, with farce dominating the films released after 1971. At least three advertise X-rated films: "The Killing of Sister George," "Midnight Cowboy," and Visconti's "The Damned." There's no voice-over commentary for this compilation, but it does include advertisements for snacks and one warning against public displays of affection aimed at "her" to control "him."

What became of Hitler’s last array, born in 1928, visited 40 years later?

Beyond the mystical city of Timbuktu, Mamatal, the son of a Tuareg chief sets out on a journey across the Sahara to save his culture known as the blue people of the Sahara before they disappear. But when the North African government of Mali collapses, he finds himself and his people caught up in an international crisis,a battle between the Tuareg fighting for independence and Al Qaeda bent on taking over the Sahara to plot future terrorist attacks against the United States and Europe. documentary looks behind the international headlines of the crisis in the Sahara and exposes the government corruption and neglect of an indigenous people who might be the only hope for defeating Islamic radicals in the region.

On October 23, 1998, a sniper carrying a high-powered rifle assassinated Dr. Barnett Slepian in his home, altering forever a family, a community, and the bounds of our imaginings about anti-abortion violence. This horrific act punctuated a decade of escalating harassment and violence against women’s heath care providers – a decade marred by murders, assaults, death threats, stalking, clinic blockades, arsons, bombings, and chemical attacks. How do these events affect the personal and professional lives of abortion providers? What motivates them to continue their work in the face of such terrorism?

Ana Deborah Mola and Belkis Lescaille were among the first young teachers who started pilot programs around the island of Cuba in 1960, laying foundation for the massive National Literacy Campaign that would take place the following year.

We wanted to make a film about a teenage mother. We met Joana in a casting that took place in Setubal, in the Bela Vista neighborhood. She appeared to us as a porcelain doll, small, fragile, pale, with a little hair bow. Little by little, she crumbled apart, revealing a charming complexity. We were conquered by the duality of strength and fragility, freedom and incarceration, joy and sorrow. The intimacy and complicity we were able to establish with her made this film possible. In Cat's Cradle, we share her with everyone else.

How do you put a life into 500 words? Ask the staff obituary writers at the New York Times. OBIT is a first-ever glimpse into the daily rituals, joys and existential angst of the Times obit writers, as they chronicle life after death on the front lines of history.

The end of the Indian Wars in the US concluded with the horrific events at Wounded Knee in December, 1890. After Custer's defeat at Little Big Horn and Chief Sitting Bull's subsequent surrender and execution, the Lakota Sioux set out on a 300-mile walk southward through South Dakota. Along the way they were joined by Chief Big Foot's band of Minneconjou Lakota and pursued by the Calvary, ending up at Wounded Knee where 350 Lakota were massacred. In The Ride we are witness to the annual Chief Big Foot Memorial Ride, a tradition since 1986 where young Lakota retrace part of the route on a 300-mile horse ride in late December.

There are 100,000 US citizens in solitary confinement across the country, a staggering number prompting comment from both President Obama and the Pope. Situated in rural Virginia, 300 miles from any urban center, Red Onion State Prison is one of over 40 supermax prisons across the US built to hold prisoners in eight-by-ten-foot cells for 23 hours a day. Filmed over the course of one year, this eye-opening film braids stark prison imagery, stories from correction officers, and intimate reflections from the men who are locked up in isolation. The inmates share the paths that led them to prison and their daily struggles to maintain their sanity.

In 1994, four women were accused, tried, and convicted of the heinous sexual assault of two young girls—as one newscaster puts it, “the modern version of the witchcraft trials.” Twenty years later, the four women have maintained their innocence, insisting that the accusations were entirely fabricated, and borne of homophobic prejudice and a late-’90s mania about covens, cults, and child abuse.

This tribute to the dynamic artist Elizabeth Murray, an intrinsic figure in New York's contemporary art landscape from the 1970s until the early 2000s, highlights her struggle to balance personal and family ambition with artistic drive in a male-dominated art world. It also addresses her later battle with cancer, at the peak of her career.

An art world upstart, provocative and elusive artist Maurizio Cattelan made his career on playful and subversive works that send up the artistic establishment, until a retrospective at the Guggenheim in 2011 finally solidified his place in the contemporary art canon. Axelrod's equally playful profile leaves no stone unturned in trying to figure out: who is Maurizio Cattelan?

Some think an in vitro fertilization contest sounds crazy, but countless Americans desperate to start a family believe this social media experiment is their only hope. Vegas Baby is a profile of patients of a Las Vegas fertility clinic. Each year, the clinic hosts a YouTube-based competition called “I Believe,” which gives one lucky couple a shot at an in vitro fertilization treatment they could not otherwise afford. Hundreds of couples apply, yet there can be only one winner.

This documentary focuses on the making of the 235-minute, silent epic Napoleon, the masterpiece of French director/writer/actor Abel Gance. Napoleon showcased Gance's talents with the camera, his use of multiple-images (like a split screen), and his handling of crowded action scenes -- all brought forward in this documentary by his later assistant, Nelly Kaplan. While Gance was shooting Napoleon in 1925-26, he and his crew were also being filmed for a documentary titled Autour de Napoleon. The only extant reels from that documentary are included in this film, as well as views of Gance's unique "triptychs" -- three different scenes lined up side-by-side across a super-wide screen to convey the effect of a panorama, or of three separate interludes. Nelly Kaplan put together this documentary using old footage, such as Gance filming the famous snowball fight at the Brienne military school and still photographs and excerpts from Gance's production diaries.

A critique of liquid love through sarcasm and crude humor. With the desire that the viewer empathize with the protagonists and reflect on the ephemerality of sexual-affective relationships in modern society. At the end of the short film, the transformation of people into mere consumer goods will be clear, which, once they have been used, are discarded

In post-revolution Libya, a group of women are brought together by one dream: to play football for their nation. But as the country descends into civil war and the utopian hopes of the “Arab Spring” begin to fade, can they realise their dream? And is there even a country left to play for? Freedom Fields is a film about hope and sacrifice in a land where dreams seem a luxury. Through the eyes of these accidental activists we see the reality of a country in transition, where the personal stories of love, struggle and aspirations collide with History.

‘You have no choice about being here, you’ll have no choice about when you leave’ proclaims a woman in Xiaolu Guo’s latest film, a documentary about the personal and physical journeys of the people of London’s East End. Herself an immigrant to the area, Guo’s sensitive character studies hint at an affinity with the push and pull of feelings of alienation, a theme she has previously explored as a filmmaker (She a Chinese, LFF 2009) and novelist (A Concise Chinese-English Dictionary for Lovers). This empathy is also apparent in her playful stylistic approach that layers Warhol-esque news reports, archival material and a soundtrack including Linton Kwesi Johnson and Fela Kuti, to comment on the human cost of capitalism. The resulting film is both a penetrating portrait of a frenetic place that feels deeply authentic, and a powerful piece of protest film.

When Marvin Hamlisch passed away in August 2012 the worlds of music, theatre and cinema lost a talent the likes of which we may never see again. Seemingly destined for greatness, Hamlisch was accepted into New York’s Juilliard School as a 6-year-old musical prodigy and rapidly developed into a phenomenon. With instantly classic hits ‘The Way We Were’ and ‘Nobody Does It Better’ and scores for Hollywood films such as The Swimmer, The Sting and Sophie’s Choice and the Broadway juggernaut A Chorus Line; Hamlisch became the go-to composer for film and Broadway producers and a prominent presence on the international Concert Hall circuit. His streak was staggering, vast, unprecedented and glorious, by the age of 31 Hamlisch had won 4 Grammys, an Emmy, 3 Oscars, a Tony and a Pulitzer prize: success that burned so bright, it proved impossible to match.

Taşkafa is a real dog and also a legend on the streets of Istanbul. John Berger begins Taşkafa’s story, reading from his novel, King, the story of the disappearance of a community told from a dog’s perspective. The area’s ordinary people – taxi drivers, shopkeepers, street traders – care deeply about the welfare of the city’s street dogs and they tell us stories about Taşkafa and their other canine neighbours. The animals are a symbol of community living, where people (and dogs) look out for each other, but this is a community in transition; one from which dogs are starting to be expelled. Eccentric, amusing and very warm, the film is a powerful indictment of the impact of global politics and the economic appropriation of public space but, even more, it is a tribute to both the spirit of resistance and to city life that can accommodate people and dogs together.