Paths of liberation

Every day 500 high-tech fishing boats enter Senegalese waters and catch whatever they can find. Every day 15,000 Senegalese wooden pirogues go out to sea and search for what is left to feed 600,000 people. All this is done under agreements between the European Union and the countries West Africa.

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.

In the ‘poor crescent’ around Brussels one child in three lives on the poverty line. But they can find refuge with BX Brussels of Vincent Kompany – a sports and social project. Stranger follows recent immigrant Senegalese football coach Moussa as he struggles to give them hope in their sport … and in their life.

Three months before the 2019 World Cup, the U.S. Women’s National Soccer Team filed a gender discrimination lawsuit against the United States Soccer Federation. At the center of this no-holds-barred account are the players themselves–Megan Rapinoe, Jessica McDonald, Becky Sauerbrunn, Kelley O'Hara and others–who share their stories of courage and resiliency as they take on the biggest fight for women's rights since Title IX.

Peter Watkins' global look at the impact of military use of nuclear technology and people's perception of it, as well as a meditation on the inherent bias of the media, and documentaries themselves.

A portrait of Pope Pius XII (1876-1958), head of the Catholic Church from 1939 until his death, who, during World War II, and while European Jews were being exterminated by the Nazis, was accused of keeping a disconcerting and shameful silence.

A medium-length film that takes the central place in the video installation "The Lady of Corinth". In both the medium-length film and the installation, Guerin delves into the relationship between cinema and painting based on Pliny the Elder's account of the invention of painting.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.

Megacities is a documentary about the slums of five different metropolitan cities.

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

The story of Severino, a man who tries to escape the misery and the drought prevailing in the rural backcountry of the Northeast of Brazil. He heads for Recife, passing through desert and forest regions, expecting to find a better life.

As police and DEA agents battle sophisticated cartels, rural, economically-disadvantaged users and dealers–whose addiction to ICE and lack of job opportunities have landed them in an endless cycle of poverty and incarceration–are caught in the middle.

Following four Lakota families over three years, Homeland explores what it takes for the Lakota community to build a better future in the face of tribal and government corruption, scarce housing, unemployment, and alcoholism. Intimate interviews with a spiritual leader, a grandmother, an artist, and a community activist from South Dakota’s Pine Ridge Indian Reservation reveal how each survives through family ties, cultural tradition, humor, and a palpable yearning for self-reliance and personal freedom.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

A quotation from Aristophanes, "The desire and pursuit of the whole is called love," precedes views of a man and a woman's bodies, often in extreme close up. Off-screen, a voice recites fragments of oracular literature and purple prose. We see an eye, an ear, a mouth, a tongue, bits of hair, a hand, the tips of fingers, toes. Occasionally, the frame includes a larger scape of a body: a chest, a back, a breast. Usually the camera is stationery; sometimes, it moves across a body, remaining in close up. They hold hands for one moment. The bodies are without clothes; no genitalia are visible.

Things don’t always work out the way we want them to, or the way we think they will. Sometimes we don’t even see it coming. We get hit with some form of pain out of nowhere leaving us feeling desperate and helpless. That’s the way life is. Still, it makes us wonder how God can let these things happen to us. How God can just stand by and watch us suffer. Where is God when it really hurts? Maybe God is actually closer to us than we think. Maybe it’s when we’re in these situations, where everything seems to be falling apart, that God gets an opportunity to remind us of how much he really loves us. Topics: Pain, Loneliness, Lost, Confusion, Comfort

Werner Herzog takes a film crew to the island of Guadeloupe when he hears that the volcano on the island is going to erupt. Everyone has left, except for one old man who refuses to leave.

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

A film about poverty in a rich country: father, mother, seven children have made it out of the homeless asylum. The author met the Cologne family B. for the first time in 1976. Living with debts, installments, reminders, living with the certainty that the children will not fare any differently. For more than twenty years, between dreams and fears, the camera recorded two generations' fear of failure and hunger for middle class. A unique film chronicle from the "latest economic miracle" - between 1976 and 1997.

Exploration of the way of life of the Q’eros Indians of Peru, who have lived in the Andes for more than 3,000 years.