Mangbetu

After crossing 11 countries irregularly to seek asylum in Canada, Peggy, Simon and their three children are waiting for the hearing that will determine whether they get refugee status or not. Having fled political repression in the Democratic Republic of the Congo, the family tries to rebuild a peaceful life in Montreal, in spite of the constant threat of deportation. Between ghosts from the past, hopes for the future, a complex legal maze and seemingly endless trial, the film delves into the struggle of the Nkunga Mbala family to remain in Canada. Offering unprecedented access to their hearing before the Immigration and Refugee Board, the film unveils the opaque process of claiming asylum in Canada.

Amazônia Indomável

Lake Tanganyika is an 'Ocean' in Africa. Millions of years ago it was colonized by a little fish called 'Cichlid'. Otters, crocodiles, cobras and cormorants all hunt the fish in clear water. How the Cichlid survived and evolved is an incredible story for, millions of years later, there are over 200 new species - all found only in Lake Tanganyika. Incredibly, they have evolved to look like coral reef fish. There are cichlid equivalents of tuna, snapper, gobies and goatfish. They have evolved bizarre methods of breeding with mouth-incubation, lekking and, unique amongst fish, there is even a cuckoo. Despite all their specialization over millions of years, if an opportunity presents itself, the little fish can behave like their unspecialized ancestor. In the climax of the film, they bang together to feast on a hatch of sardine fry. This is the story of how one little fish has conquered a lake.

An account of the journey that King Alfonso XIII of Spain made to the impoverished shire of Las Hurdes, in the province of Cáceres, in the region of Extremadura, in 1922.

Refuge(e) traces the incredible journey of two refugees, Alpha and Zeferino. Each fled violent threats to their lives in their home countries and presented themselves at the US border asking for political asylum, only to be incarcerated in a for-profit prison for months on end without having committed any crime. Thousands more like them can't tell their stories.

In the Frozen Tomb of Mongolia

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.

This intimate ethnographic study of Voudoun dances and rituals was shot by Maya Deren during her years in Haiti (1947-1951); she never edited the footage, so this “finished” version was made by Teiji Ito and Cherel Ito after Deren’s death.

As retailers, wholesalers, and negotiators, Asante women of Ghana dominate the huge Kumasi Central Market amid the laughter, argument, colour and music. The crew of this `Disappearing World' film have jumped into the fray, explored, and tried to explain the complexities of the market and its traders. As the film was to be about women traders, an all female film crew was selected and the rapport between the two groups of women is remarkable. The relationship was no doubt all the stronger because the anthropologist acting as advisor to the crew, Charlotte Boaitey, is herself an Asante. The people open up for the interviewers telling them about their lives as traders, about differences between men and women, in their perception of their society and also about marriage.

Rumba Rules, New Genealogies offers an enjoyable, rough-edged glimpse into the music scene of Kinshasa, with impromptu shots drawing the viewer into jam sessions on plastic chairs, and the quest for perfection at the studio.

Bunda Reinha - Celebrating 500 Years of Tuan Ma

A documentary on the experiences of the Nubetya Yaptiks nomadic family in the Yamal Peninsula, Eastern Siberia, from 1992 to 2001.

Robert J. Flaherty's South Seas follow-up to Nanook of the North is a Gauguin idyll moved by "pride of beauty... pride of strength."

This documentary started as part of a photography project about the indigenous Ainu population in northern Japan, portraying people from tightly knit communities. They feel deeply connected by their culture and tradition. With gorgeous pictures, the directors explore how different generations of Ainu reflect on their identity after centuries of oppression.

An ethnographic film that tells the story of the mask makers and dancers during the festival of the Virgen del Carmen in Paukartambo, Cuzco. The dancers reinterpret their history and socio-political forces that drive them to perform their rituals of magic and resistance. The 18 dance troupes reenact and satirize the different ethnic groups that passed through Paukartambo since the beginning of time. They connect and tell a story of the past, the present, and the future wearing hand-made colorful masks and intricate beaded costumes.

In Isère, in the mountainous region of Trièves, is the Tournesol farm, an experiential farm totally autonomous in energy, a veritable laboratory for renewable energies. Jean-Philippe and his family live there from sheep farming and organic market gardening. But in September 2017, a violent fire destroyed the farm and its facilities. While the family has lost everything, a surge of solidarity is taking place so that the Tournesol farm is reborn from its ashes.

Inde : les villages sans utérus / RDC : le long chemin d’un salaire

A rare documentary made in Brussels in the early nineties collecting witnesses on how local and Congolese musicians enriched each other including internationally known stars such as Manu Dibango, Toots Tielemans, Vaya Con Dios, Phillippe Catherine, Victor Laszlo, Zap Mama...

Forest of Bliss is an unsparing yet redemptive account of the inevitable griefs, religious passions and frequent happinesses that punctuate daily life in Benares, India's most holy city. The film unfolds from one sunrise to the next without commentary, subtitles or dialogue. It is an attempt to give the viewer a wholly authentic, though greatly magnified and concentrated, sense of participation in the experiences examined by the film.

In front of Jean Rouch's camera, Germaine Dieterlen recalls her ethnographic itinerary, at the Musée de l'Homme, in Mali and in the Paris of the 1930s.