Victims 1918

Using historically-accurate, battle-filled re-enactments and interviews with expert historians and noted authors, this two-part documentary series brings to vivid life the captivating true stories behind Britain's bloody civil wars.

Former corporate whiz kid Robert McNamara was the controversial Secretary of Defense in the Kennedy and Johnson administrations, during the height of the Vietnam War. Augmented by archival footage and cabinet conversation recordings, Errol Morris gives the conflicted McNamara a platform on which he attempts to confront his and the U.S. government's actions in Southeast Asia in light of the horrors of modern warfare, the end of ideology and the punitive judgment of history.

World War II propaganda short which focuses on the dangers of inadvertent dispersal of military information.

Seminal Danish documentary about Nazi Germany's occupation of Denmark in the Second World War between 1940 and 1945.

De Bevrijding van Den Haag

During World War II, the propaganda engine of the U.S. government made a pivotal decision with unforeseeable results: they tapped John Huston to shoot war documentaries with an expressly patriotic spin. Few could guess the degree to which Huston's documentaries would depict the sheer brutality and horror of modern warfare - particularly his Let There Be Light and The Battle of San Pietro. The films served (by default) as cinematic protests, even as they graced new and brilliant heights within the scope of American documentary. (Indeed, Light was banned by the government for 35 years). Midge Mackenzie's 1998 documentary John Huston: War Stories explores this little known facet of Huston's career, intercutting clips from the various documentaries with a Huston interview shot just prior to his death.

Street art, creativity and revolution collide in this beautifully shot film about art’s ability to create change. The story opens on the politically charged Thailand/Burma border at the first school teaching street art as a form of non-violent struggle. The film follows two young girls (Romi & Yi-Yi) who have escaped 50 years of civil war in Burma to pursue an arts education in Thailand. Under the threat of imprisonment and torture, the girls use spray paint and stencils to create images in public spaces to let people know the truth behind Burma's transition toward "artificial democracy." Eighty-two hundred miles away, artist Shepard Fairey is painting a 30’ mural of a Burmese monk for the same reasons and in support of the students' struggle in Burma. As these stories are inter-cut, the film connects these seemingly unrelated characters around the concept of using art as a weapon for change.

A comedy documentary about performing stand-up comedy for U.S. Troops stationed in Afghanistan, Kuwait and Iraq. Heartfelt interviews with top professional comedians are woven in with filmmaker Jordan Brady's first-hand experience going to the Middle East. While traveling (Spring 2016) brutal terrorist attacks in Brussels, Turkey and Iraq remind us of the dangers in thew world, and underscore the mission to provide laughter for the men and women serving the military.

The ideologies underlying the foundation of modern Israel are explored in this documentary, the third of a trilogy (created over a twenty year span) exploring the Jewish experience. The two earlier documentaries, "Porquoi Israel," and "Shoah," have had great effect on the ways documentaries are produced. "Tsahal" zeroes in on the crucial role of the military in Israeli society and politics. The film uses many in-depth interviews to present the many feelings and thoughts about the Israeli military.

Filmmaker Froukje van Wengerden’s 86-year-old grandmother shares a powerful memory from 1944, when she was just 14. As her story unfolds, we see a group of contemporary 14-year-old girls. Their procession of portraits permits the spectator to see simultaneously forward and back, into the future and towards the past. A miraculous testimonial that uses eye contact to focus the viewer inward and evoke unexpected emotions.

Letter from Beirut documents the filmmaker's return to Beirut during one of the lulls, three years after the outbreak of the civil war, animated by the urge to return. She is confronted by the physical, emotional and psychological ravages of the war, terrified and sorrowful, she cannot find her place in the city. In that quest, she communicates with everyday people, friends, neighbors, people riding the bus across the city's eastern and western flanks. To pace her journeying and dramatic unraveling of the film, Saab borrows the guise of a letter read in a voice-over, written by world-renowned poet Etel Adnan. A rare document from the civil war, Letter from Beirut lays bare and spontaneously how people make sense of their everyday in the midst of chaos, violence, terror and sorrow.

Shot by a reported “1,001 Syrians” according to the filmmakers, SILVERED WATER, SYRIA SELF-PORTRAIT impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film, if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in his dreams by a Syrian boy once shot to death for snatching his camera on the street.

Zona di guerra - Professione Contractor

Maginot vs Siegfried : la guerre des lignes

Fallujah, November 2004. While bombings and massacres with unconventional weapons follow one another in the city, an American soldier and an Iraqi woman meet in a strange room. The story told, based on episodes that really happened, is interspersed with repertoire material and interviews with Simona Torretta.

Michael Moore's view on how the Bush administration allegedly used the tragic events on 9/11 to push forward its agenda for unjust wars in Afghanistan and Iraq.

During the Vietnam War, the CIA recruited Hmong tribesmen in the hills of Laos to fight the Communists, then brought them as refugees to America. Forty years later in California, someone who might be a CIA operative approaches a Hmong human rights activist about buying weapons to continue the fight.

Over the period of 25 years the director met General Võ Nguyên Giáp, a legendary hero of Vietnam’s independence wars, a number of times. She was the first American who entered the home of the “Red Napoleon”. The fruit of this friendship is a film, personal and politically involved at the same time. Travelling across the country and talking to important figures as well as ordinary people, the director finds out more about her roots and offers the audience a unique perspective on Vietnam’s present and past.

This feature documentary examines its own genre, which has often been called Canada's national art form. Released in the year of the NFB's 75th birthday, Shameless Propaganda is filmmaker Robert Lower's take on the boldest and most compelling propaganda effort in our history (1939-1945), in which founding NFB Commissioner John Grierson saw the documentary as a "hammer to shape society". All 500 of the films produced by the NFB until 1945 are distilled here for the essence of their message to Canadians. Using only these films and still photos from that era, Lower recreates the picture of Canada they gave us and looks in it for the Canada we know today. What he finds is by turns enlightening, entertaining, and unexpectedly disturbing.

The biggest trial of Nazi war crimes ever: 360 witnesses in 183 days of trial - a stunning and gripping portrayal of the most terrible massacre in history.