L'instruction

An in depth look at the persecution and subsequent death of the 5 million non Jewish victims of the World War II Holocaust and the lives of those who survived. Through stories of survivors and historical footage, these lesser known voices are brought to life. From the Roma and Sinti people who were also targeted for complete annihilation to the thousands of Catholic Priests who were killed for speaking out, Forget Us Not strives to educate and give tribute to those who were killed for their religion, ethnicity, political views, sexual orientation and physical handicaps.

A handful of prisoners in WWII camps risked their lives to take clandestine photographs and document the hell the Nazis were hiding from the world. In the vestiges of the camps, director Christophe Cognet retraces the footsteps of these courageous men and women in a quest to unearth the circumstances and the stories behind their photographs, composing as such an archeology of images as acts of defiance.

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.

A documentary film that highlights two street derived dance styles, Clowning and Krumping, that came out of the low income neighborhoods of L.A.. Director David LaChapelle interviews each dance crew about how their unique dances evolved. A new and positive activity away from the drugs, guns, and gangs that ruled their neighborhood. A raw film about a growing sub-culture movements in America.

A filmed version of Aaron Copland's most famous ballet, with its original star, who also choreographed.

When the lights dim and the stage is revealed, Meschke channels life through the strings of his puppets, triggering the spiritual connection between the creator and his alter-egos: the charismatic Don Quixote, the loving Penelope, the inquisitive Baptiste, or the mysterious Antigone. THE MAN WHO MADE ANGELS FLY is a poetic story about a master of his craft that has inspired audiences to reflect upon common issues of suffering and the mortal coil. Visionary and un-biographic, imaginary tribute to the puppeteer.

As a 10-year-old “Mengele Twin,” Eva Kor suffered some of the worst of the Holocaust. At 50, she launched the biggest manhunt in history. Now in her 80s, she circles the globe to promote the lesson her journey has taught: Healing through forgiveness.

Pina Bausch created and performed Café Müller for her dance company Tanztheater Wuppertal. The dance was inspired by and based on her childhood memories of watching her father work at his café in Germany during and immediately following World War II. In this silent style featurette, Bausch shows a restaurant after closing, in which the ghosts of the departed customers stumble blindly into walls and onto chairs but fail to find one another.

Anne Frank's world famous diary came to an abrupt end shortly before she and her family were discovered hiding from the Nazis in a secret annex at the top of Otto Frank's office building, on August 4, 1944. While her diary tells the story of Anne's life, the story of her death reveals the atrocities encountered by millions of Jews during the Holocaust. In a solemn remembrance of the horrors that Anne Frank and these millions of others suffered during the dark days of World War II, National Geographic Channel (NGC) takes viewers inside the concentration camps in a two-hour special. In keeping with NGC's tradition of unparalleled storytelling, Anne Frank's Holocaust incorporates new findings and rarely seen photographs to reintroduce the story of the massacre of Jews in one of the most comprehensive documentaries on the subject to date.

By means of objects, photos, tapes and films, director Angelika Levi, half-German, half-Jewish, examines the story of her family. The film deals with trauma and the way history is produced, filed away, turned into discourse and ordered on macro and micro levels.

A film about a district in Buda, which to this day cannot face the inconceivably cruel crimes committed by its former inhabitants.

In the small town of Rechnitz a terrible crime against humanity was performed during the holocaust. Until now, no-one dares to talk about it.

A documentary exploring how Albanians, including many Muslims, helped and sheltered Jewish refugees during WWII at their own risk, and trying to help the son of an Albanian baker that housed a Jewish family for a year return some Hebrew books that the family had to leave behind.

We’ve all heard of the Warsaw Ghetto Uprising, but most people have no idea how widespread and prevalent Jewish resistance to Nazi barbarism was. Instead, it’s widely believed “Jews went to their deaths like sheep to the slaughter.” Filmed in Poland, Lithuania, Latvia, Israel, and the U.S., Resistance – They Fought Back provides a much-needed corrective to this myth of Jewish passivity. There were uprisings in ghettos large and small, rebellions in death camps, and thousands of Jews fought Nazis in the forests. Everywhere in Eastern Europe, Jews waged campaigns of non-violent resistance against the Nazis.

A portrait of the day-to-day operations of the National Gallery of London, that reveals the role of the employees and the experiences of the Gallery's visitors. The film portrays the role of the curators and conservators; the education, scientific, and conservation departments; and the audience of all kinds of people who come to experience it.

Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?

As a result of the Holocaust and later, AIDS, the male homosexual community has sustained bitter losses and, according to Praunheim, lesbian women have now placed themselves at the head of the so-called queer movement. The female protagonists in the film represent two different generations; they also incorporate the past and present status of homosexuals in society.

The film considers what it means to be free to move, not as in leave or flee, but to move. It explores the ability of the environments we live in – especially cities – to create the space people need to move. Shot in Freetown, Sierra Leone, it explores the power of the creative sectors in the city and their immense potential.

The documentary tells the stories of people who were just children during the Second World War and the Nazi occupation of Ukraine. Its protagonists now live in Kyiv, Dnipro, and Odesa, where the filming took place. They survived the ghetto and also witnessed mass shootings that took place, according to researchers, in about five thousand locations across Ukraine. Each of the heroes lost loved ones. Parents, brothers, sisters, loved ones. Everyone had a single task during these terrible years - to survive. The entire mosaic of terrible memories collected in the film is part of a story of survival.

Anma (The Masseurs) is a representative and historical work by the creator of Butoh dance, Tatsumi Hijikata in his early period in the 1960s. The film is realized not only as a dance document but also as a Cine-Dance, a term made by Iimura, that is meant to be a choreography of film. The filmmaker "performed" with a camera on the stage in front of the audience. With the main performers: Tatsumi Hijikata and Kazuo Ohno, the film has the highlights such as Butohs of a soldier by Hijikata & a mad woman by Ohno. There is a story of the mad woman, first outcast and ignored, at the end joins to the community through her dance. Inserted descriptions of Anma (The Masseurs) are made for the film by the filmmaker, but were not in the original Butoh. The film, the only document taken of the performance, must be seen for the understanding of Hijikata Butoh and the foundation of Butoh.