Aleph

A meeting between the daughter and the grandmother of the director, Iván Mora Manzano, at a time when the memories of one, the girl’s, were taking shape, and the other’s the grandmother’s, were vanishing. This starting point is used as a pretext to talk about other topics such as the importance of family memories and the search for memory.

In this film from late in his career, Kramer returns to Hanoi after nearly 25 years to re-envision the city’s struggle through an uncertain and daunting past, present, and future. The Vietnamese characters in the film are diverse: Kramer’s former guide from an earlier visit in 1969; a tight-rope walker in the national circus; a man who took photos of B-52s and another who lost his fingers shooting them down.

Festival panafricain d'Alger is a documentary by William Klein of the music and dance festival held 40 years ago in the streets and in venues all across Algiers. Klein follows the preparations, the rehearsals, the concerts… He blends images of interviews made to writers and advocates of the freedom movements with stock images, thus allowing him to touch on such matters as colonialism, neocolonialism, colonial exploitation, the struggles and battles of the revolutionary movements for Independence.

“One, Two, Three, Viva l’Algérie!” is the main theme of our film. But it is first a slogan, a link that acts in space and time: a few words scanded, inseparable from the history of Algerian football and therefore the relationship between France and Algeria. These encouragements born with the FLN team during the Revolutionary War and later repeated in the Algerian epic at the 2010 World Cup were taken out of the stadiums in 2019 to call for change.

Explore the 1928 collapse of the St. Francis Dam, the second deadliest disaster in California history. A colossal engineering and human failure, the dam was built by William Mulholland, a self-taught engineer who ensured the growth of Los Angeles by bringing the city water via aqueduct. The catastrophe killed more than 400 people and destroyed millions of dollars of property.

O tecido da memoria (My room number is cucumber)

Cinema da nossa gente

In India, in the region of Gujarat, a man whose face is never shown travels through the large city of Vadodara by night and distributes a mysterious illustrated newspaper. It provokes an irresistable desire in all the street merchants and craftsmen to tell stories of ghosts and ghouls.

Gå i kloster

This poetic film follows director Marialuisa's journey with Anita and Leticia, Central American women traveling with the Caravan of Mothers of Missing Migrants.

A team of paranormal investigators use modern techniques and advanced technology looking into some of most famous ghost stories in and around Great Britain.

An intimate portrayal of the everyday lives of Carthusian monks of the Grande Chartreuse, high in the French Alps (Chartreuse Mountains). The idea for the film was proposed to the monks in 1984, but the Carthusians said they wanted time to think about it. The Carthusians finally contacted Gröning 16 years later to say they were now willing to permit Gröning to shoot the movie, if he was still interested.

The veiled story of Japanese diaspora in Mexico and the endurable impact of historic silence in its descendants is portrayed through testimonies and an exploration of landscape and choreography, questioning the formation and theatricality of individual and collective identity. When everything that's left of history are memories, how are invisible wounds healed? Yurei goes through different zones in Mexico towards an exploration of memory.

Documentary about the life and work of Jorge Luis Borges, from his own memories and reflections.

Farmers in the Île-de-France region, they filmed life on the farm, working in the fields, and family and village celebrations on 8 mm or Super 8 film. From the 1950s to the 1980s, these testimonies unfold a history of rural life: we move away from a peasant and family model to industrial agriculture for export. Through these family images, I attempt to answer my own questions about our agricultural future. In the 1950s, the land of Île-de-France fed us.

During the 1960s there was a group of writers in Buenos Aires who, influenced by the North American Beatnik movement, called themselves Opium. Anarchists, rebels with a cause, populated Buenos Aires nights in bars like El Moderno, promoting a different movement for a different time. This film addresses not only Opium, but the sixties itself, and its collateral protagonists.

Idak-Idak-Idak is a hybrid-documentary relating the stolen Lombok Treasures with the Sasak diaspora through three generations of women: a daughter, her mother, and her grandmother. Blending full-spectrum cinematography with personal footage, this film moves between Indonesia and the Netherlands to examine colonial legacies, displacement and healing the heart of home. In Sasak, "Idak" can be interpreted as both “heart” and “absence”, becoming a container for memory, loss, and the unseen layers of the self between generations.

There, Robert Peary, an American explorer, thought more than 100 years ago, that the only way for a human being to reach the North Pole would be to have children with Inuits, "to create a super-race that would combine the Eskimo strength and the shrewdness of the Westerner." Following in the footsteps of this extravagant theory, this film essay marches in search of that super-race.

Orientalism is a literary and artistic movement born in Western Europe in the 18th century. Through its scale and popularity, throughout the 19th century, it marked the interest and curiosity of artists and writers for the countries of the West (the Maghreb) or the Levant (the Middle East). Orientalism was born from the fascination of the Ottoman Empire and followed its slow disintegration and the progression of European colonizations. This exotic trend is associated with all the artistic movements of the 19th century, academic, romantic, realistic or even impressionist. It is present in architecture, music, painting, literature, poetry... Picturesque aesthetics, confusing styles, civilizations and eras, orientalism has created numerous clichés and clichés that we still find today in literature or cinema.

Born on March 25, 1840, Gustave Guillaumet discovered Algeria by chance when he was about to embark for Italy. Over the course of his ten or eleven trips and extended stays, he established a familiarity with this space. Traveling through the different regions from north to south, he never ceases to note the differences. He is also the first artist, apart from Delacroix's Women of Algiers, to penetrate into female interiors and reveal the reality, far removed from the harem fantasies that reigned in his time. Fascinated by the country, its deserts and its inhabitants , going so far as to live like the Algerians, Gustave Guillaumet devoted his life and his painting to this country, breaking with the colorful and exotic representations of the time. The painting The Famine in Algeria, restored thanks to exceptional fundraising, was dictated by the events of the years 1865-1868, and well illustrates his knowledge of the country, in a manner that is at once demanding, sensitive and serious.