Not Bad at All

An in-depth look at the legendary point guards of New York City who honed their craft and developed their legendary showmanship in the 1980s and ’90s. The documentary spotlights the ascent of Rafer Alston, Kenny Anderson, Mark Jackson, Stephon Marbury, God Shammgod, Kenny Smith, Rod Strickland and Dwayne “Pearl” Washington in the midst of a cultural renaissance.

La memoria inmortal

This documentary takes you on a reflective journey into the extended family of Nova Scotia’s Mi'kmaq community. Revisiting her own roots, Mi'kmaq filmmaker and mother Catherine Anne Martin explores how the community is recovering its First Nations values, particularly through the teachings of elders and a collective approach to children-rearing. Mi'kmaq Family is an inspiring resource for both Indigenous and non-Indigenous audiences who are looking for ways to strengthen and explore their own families and traditions. We hear the Mi'kmaq language spoken and a lullaby is sung by a Mi'kmaq grandmother featured in the film.

Industrialization brings progress, but also harmful influences on the environment. Warning of the dangers of waste materials dumped into the air and the waters.

Static was filmed from a helicopter circling around the Statue of Liberty in New York Harbour. It was shot shortly after the monument was fully re-opened following the September 11th attacks. Flying alongside the statue, the camera presents us with startling close-up views of its oxidised copper surface. The continual sense of movement is disorienting, undermining its sense of permanence and stability.

Renée R. : Lettres retrouvées

“Raised by Krump” explores the LA-born dance movement “krumping,” and how the dance has helped the lives of some of the area’s most influential dancers.

Return to 'burn' only to find out you're already in that urn.

Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City's African American and Latinx Harlem drag-ball scene. Made over seven years, PARIS IS BURNING offers an intimate portrait of rival fashion "houses," from fierce contests for trophies to house mothers offering sustenance in a world rampant with homophobia, transphobia, racism, AIDS, and poverty. Featuring legendary voguers, drag queens, and trans women — including Willi Ninja, Pepper LaBeija, Dorian Corey, and Venus Xtravaganza.

Follow along as “budding YouTuber” Jack Carlin makes the hilariously unnecessary trip to the UK (over 3,000 miles) for a single day in order to compete in an animation quiz.

In the vast expanse of desert East of Atlas Mountains in Morocco, seasonal rain and snow once supported livestock, but now the drought seems to never end. Hardly a blade of grass can be seen, and families travel miles on foot to get water from a muddy hole in the ground. Yet the children willingly ride donkeys and bicycles or walk for miles across rocks to a "school of hope" built of clay. Following both the students and the teachers in the Oulad Boukais Tribe's community school for over three years, SCHOOL OF HOPE shows students Mohamed, Miloud, Fatima, and their classmates, responding with childish glee to the school's altruistic young teacher, Mohamed. Each child faces individual obstacles - supporting their aging parents; avoiding restrictions from relatives based on traditional gender roles - while their young teacher makes do in a house with no electricity or water.

A portrayal of the life of one of the most important samba musicians in Brazil, Bahian sambista Oscar da Penha, popularly known as Batatinha (1924 -1997). Through memories of their father, his nine children share their perspectives, as well as interviews with family, friends and musicians, to tell the story of Batatinha’s life, history and work.

In 1892, Ellis Island, in New York Bay, became the main gateway to the United States for immigrants arriving increasingly from Europe. The story of immigration to the United States from 1892 to 1954, an enthralling polyphonic narrative that embraces both small and great history.

Jason Momoa's story of fatherhood, craftsmanship, and the legacy he'll leave behind.

Dance for All

Writing a letter to Paul B. Preciado, trans philosopher and filmmaker, as one would write to a friend. Undertake a healing process as a queer child growing up in a Spanish evangelical family. From Lausanne to New York, Lézio Schiffke-Rodriguez follows in the footsteps of revolutions that invite us to redefine our vision of binary bodies.

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.

Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.

The senior year of a girls’ high school step team in inner-city Baltimore is documented, as they try to become the first in their families to attend college. The girls strive to make their dancing a success against the backdrop of social unrest in their troubled city.

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.