Nose and Tina

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Jakub presents an extensive ethnographical-sociological study of the life of the Ruthenians, filmed in the Maramuresh mountains in the north of Romania and in the former Sudetenland in Western Bohemia. The film was made over a period of five years during the time of both totalitarian regimes and was completed in 1992 after the revolution.

In a Parisian public hospital, Claire Simon questions what it means to live in women’s bodies, filming their diversity, singularity and their beauty in all stages throughout life. Unique stories of desires, fears and struggles unfold, including the one of the filmmaker herself.

Lissette's favorite aunt Adriana, who lives in Australia, is arrested in 2007 while visiting her family in Chile and accused of having worked for dictator Pinochet's notorious secret police, the DINA, and of having participated in the commission of state crimes. When Adriana denies these accusations, Lissette begins to investigate her story in order to film a documentary about her.

Inspired by an exclusive interview and performance footage of Chavela Vargas shot in 1991 and guided by her unique voice, the film weaves an arresting portrait of a woman who dared to dress, speak, sing, and dream her unique life into being.

What would your family reminiscences about dad sound like if he had been an early supporter of Hitler’s, a leader of the notorious SA and the Third Reich’s minister in charge of Slovakia, including its Final Solution? Executed as a war criminal in 1947, Hanns Ludin left behind a grieving widow and six young children, the youngest of whom became a filmmaker. It's a fascinating, maddening, sometimes even humorous look at what the director calls "a typical German story." (Film Forum)

A documentary on the once promising American rock bands The Brian Jonestown Massacre and The Dandy Warhols. The friendship between respective founders, Anton Newcombe and Courtney Taylor, escalated into bitter rivalry as the Dandy Warhols garnered major international success while the Brian Jonestown Massacre imploded in a haze of drugs.

In the Realms of the Unreal is a documentary about the reclusive Chicago-based artist Henry Darger. Henry Darger was so reclusive that when he died his neighbors were surprised to find a 15,145-page manuscript along with hundreds of paintings depicting The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glodeco-Angelinnian War Storm, Cased by the Child Slave Rebellion.

In the 50 years since he carved his first totem pole, Robert Davidson has come to be regarded as one of the world’s foremost modern artists. Charles Wilkinson (Haida Gwaii: On the Edge of the World) brings his trademark inquisitiveness and craftsmanship to this revealing portrait of an unassuming living legend. Weaving together engaging interviews with the artist, his offspring, and a host of admirers, Haida Modern extols the sweeping impact of both Davidson’s artwork and the legions it’s inspired.

Documentary depicting the lives of child prostitutes in the red light district of Songachi, Calcutta. Director Zana Briski went to photograph the prostitutes when she met and became friends with their children. Briski began giving photography lessons to the children and became aware that their photography might be a way for them to lead better lives.

The film describes the microcosmos of the small village Wacken and shows the clash of the cultures, before and during the biggest heavy metal festival in Europe.

They experienced perhaps the greatest crimes against humanity the world has ever seen. Yet what do we know about the Holocaust survivors who made Britain their home? Britain's Holocaust Survivors takes a unique approach to recording the experiences of the last generation to have living memories of the Holocaust. The film takes viewers into the homes of a small group of extraordinary survivors, telling their stories with sensitivity, humour and compassion. A compelling cast of characters are revealed as they gradually reveal the horror of their past and how those experiences have shaped their lives.

This haunting film comprises of footage shot during WWI from opposite sides of the conflict: Czarist Russia and the Austro-Hungarian empire. The filmmakers tinted the material with sensual colors from sepia to red, blue, and purple and slowed the footage to analyze the material. The total absence of commentary renders the material eloquent and disturbing. - MoMA

Documentário Brasil Tupinambá

"A documentary film which looks at the issue of British Columbia Native land claims and how the aboriginals link their culture to the land, which has been stolen by the dominant white culture of North America. In the film, the argument is presented that the lands have been taken from the Natives without any clear treaty agreements and how attempts had been made to wipe out Native culture through the Residential School system. " Produced by the Union of BC Indian Chiefs in 1975.

Two tons of snow—flown from New Hampshire to Puerto Rico in 1952 in order to “gift” Puerto Ricans a “white Christmas”—become a metaphor for the colonialist paternalism of America’s relationship to Puerto Rico.

Until now, they have stood on the sidelines. They have not appeared before the cameras. They have not taken part in public discussion. It is mainly to them that the documentary film by the well-known journalist Ewa Ewart was devoted. It shows the face of the Smolensk catastrophe through the eyes of the victims' families. April 10, 2010 went down in the memory of Poles as a day of national drama. But for the characters in the film, it was the day of their greatest personal drama. Along with the presidential couple, their loved ones passed away in shocking circumstances. For most, the time passing since the Smolensk catastrophe does not bring relief. Ewa Ewart and her film crew accompany the families at various stages of their struggle with difficult emotions. The film is in the process of being made and will include sequences and stills that have not been used anywhere before.

One is a former police officer, bodyguard and hairdresser. Currently retired, he takes care of his extravagant and almost hundred-year-old illiterate mother. He writes poems and hopes to see them published one day. The other, a declared womanizer, workaholic, and leftist, was imprisoned during the dictatorship, runs a small grocery shop, and controls the life of his young second wife. Both were born in the Uruguayan hinterland during the Second World War, and share the same name as well as the fact that neither has wished to change it. The film is a tragicomic portrait of a country whose cultural diversity, its peculiar history and the character of its inhabitants allow the existence of exceptional and remarkable persons that depict a live picture of Uruguay, with its plurality and contradictions, its small and large history, without departing a single moment from irony or reflection.

You’d never know this is your home away from home. The surveillance camera outside shows a drab reception area and an unremarkable street in Mexico City; inside, the lights flash, but the tables are empty. Yet preparations are soon underway and fixed categories cease to apply: stubble is removed, make-up applied and strands of hair are teased into place; the camera is trained not on the men themselves, but what they see in the mirror.