Invisible Days, or the Legend of the White Crocodile

Five New York divas close up. The thing that in addition to their friendship links these gifted, confident and beautiful women; a painter, an actress and three musicians, is their shared homeland, former Yugoslavia.

A documentary about the three Woodstock music festivals.

Documentary showing the backstage of production of Samira Makhmalbaf's film Panj É Asr(At Five in the Afternoon), in Kabul, after the fall of the Taliban regime. Everything was recorded with a small digital camera by Samira's 14-year-old sister Hana.

Milan-based duo Yervant Gianikian and Angela Ricci Lucchi create an astonishing work of militant poetry with this found-footage chronicle of Mussolini's brutal invasion of Ethiopia.

Second in the series by the Maysles brothers documenting the monuments/sculptures of Christo, whose art projects are landscape-scaled, and more "pop" performance art designed to question how we relate to art in the public sphere, especially when it's as oblique, non-political (at least, that is what he would claim), and neutral as running a fence through a landscape.

The Maysles' third film about the artists sees them trying to get three projects off the ground: wrapping the Pont Neuf, the oldest bridge in Paris; wrapping the Reichstag; and surrounding eleven man-made islands in Florida with pink plastic sheets. As the latter is the only one that gets approval, it gets the bulk of this film.

Documentary about conceptual artist Christo and his wife Jeanne-Claude's attempt to "wrap" the Pont-Neuf in Paris.

Cass, a high-powered attorney and single mother of two, is on the hunt for a new nanny after her precocious kids ran off the last one.

What began as a video master class evolved into a film about the political documentaries of Oscar-winning cinematographer Haskell Wexler. Comprised of footage from his films as well as interviews, the film is an intimate portrait of the genius behind the camera.

"You are suffering from a mental fragility,” the doctor tells Ahang as she desperately tries to understand why she sometimes feels so terribly sad, as though everything has fallen apart. From the outside, she seems to live a sound and good life. For periods of time everything feels really good. But then it hits her: that horrific panic and despair that destroys everything and presses her down into a deep black hole.

Since the late 18th century American legal decision that the business corporation organizational model is legally a person, it has become a dominant economic, political and social force around the globe. This film takes an in-depth psychological examination of the organization model through various case studies. What the study illustrates is that in the its behaviour, this type of "person" typically acts like a dangerously destructive psychopath without conscience. Furthermore, we see the profound threat this psychopath has for our world and our future, but also how the people with courage, intelligence and determination can do to stop it.

A brooding, deceptively rich series of near-static shots of farms, factories, townscapes, and—in dispassionate middle distance—people going about their mundane daily tasks in sparsely populated southeastern Oregon.

LOOK AT US NOW, MOTHER! is about the transformation of a highly charged mother/daughter relationship from Mommie Dearest to Dear Mom, from hatred to love, as told through the filmmaker's story. The film is an unflinching look at the complex bond between mother and daughter. It reveals insights into family behaviors, patterns and generational, societal, cultural and individual histories. The film takes the audience on a journey spanning decades and continents, filled with conflict and emotional land mines. Told through biting humor and raw honesty, this is an intimate story about family dysfunctions and forgiveness.

A profile of Istanbul and its unique people, seen through the eyes of the most mysterious and beloved animal humans have ever known, the Cat.

Marion Hänsel directed this personal meditation on the joys and responsibilities of parenthood, in which a narrator reads Hansel's philosophic musings on raising her young son on her own, while carefully shot and selected footage of different cloud formations from around the world provide a striking visual backdrop. Catherine Deneuve read Hänsel's text in the original French-language version of Nuages; Charlotte Rampling did the honors for the English-language print, while Barbara Auer, Carmen Maura, and Antje De Boeck respectively lent their voices to the German, Spanish, and Dutch editions of the film.

Los Punks: We Are All We Have is an intimate documentary about the teens and young adults who find meaning in the thriving punk rock scene in the backyards of South Central and East Los Angeles.

Cultural Worker 3 in 1 is a documentary film about the role of the left-oriented independent cultural-artistic scene and cultural workers in the region of ex-Yugoslavia. Following the life and work of several characters in four cities of former Yugoslavia the film explores two issues – what it means to be a cultural worker in post-socialist contexts of Skopje, Belgrade, Zagreb and Ljubljana, and what the possibilities for action and intervention in social reality are, from the position of art and culture. In this way, the film reflects on actual tendencies and problematics at the critical independent cultural scenes, as well as on relations between art, theory and activism, which are strongly present in the region.

Deep in the forest of Overland Park, Kansas little gnomes made a home. But how did they get there? Experience the feel-good story of paying it forward, one tiny magical house at a time.

Actress Mia Farrow's personal life takes a turn for the worse when she engages in a long relationship with Woody Allen.

Documentary about the German painter Oda Jaune.