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The video documentary "A Struggle to Remember: Fighting for Our Families" puts faces and narratives to the story of the struggle for family leave in Canada. The 20-minute film shows how it became accepted that women be able to return to their jobs after maternity leave and how men and women gained real and enforceable work-life balance provisions.

In the second largest school district in the United States, 98% of teachers vote to authorize a strike. Watch as one of the largest educator strikes in modern U.S. history unfolds in real-time, highlighting the stories and leadership of some of the women who led it, from union leaders to classroom teachers. From strike vote to contract vote, When We Fight goes behind the picket lines, documenting how and why teachers strike. "This powerful and beautifully crafted film is a must watch for anyone interested in the state of labor in America today." - Robert Reich, former Secretary of Labor and Professor of Public Policy, UC Berkeley

Documents the Cockatoo Island Dockyard occupation and industrial actions of 1989.

Henry Browne, an African American farmer, and his family are profiled in this film. The important job of a farmer during times of war is highlighted, specifically his efforts growing peanuts and cotton. This role is made even more poingnant when they visit the eldest son who is a cadet in the 99th Pursuit Squadron.

An explosion in one of the largest chemical plants in Europe, the Petrochemical complex in Tarragona, triggers the labour struggle of a group of workers who demand what is fair for everyone.

Taylor Chain I tells the gritty realities of a seven-week strike at a small Indiana chain factory during 1973-74. Volatile union meetings and tension-filled interactions on the picket line provide an inside view of the tensions and conflicts inherent to labor negotiations. Due to a lack of funds and a fire at Kartemquin which necessitated a re-edit of the film, the film was not released until 1980. Filming then began a year later on Taylor Chain II: A Story of Collective Bargaining.

A Bolivian by birth, who grew up with adoptive parents in the Swabian town of Mössingen, is looking for his family in the mountains of Potosí. Out of poverty, his mother gave the little boy away when he was just a few months old. The search carries a story that goes far beyond personal fate. Because Manuel was born in a region known for the ruthless exploitation of silver. It's a film about identity, homeland and equal opportunities.

Peter Dunning is a rugged individualist in the extreme, a hard-drinking loner and former artist who has burned bridges with his wives and children and whose only company, even on harsh winter nights, are the sheep, cows, and pigs he tends on his Vermont farm. Peter is also one of the most complicated, sympathetic documentary subjects to come along in some time, a product of the 1960s counterculture whose poetic idealism has since soured. For all his candor, he slips into drunken self-destructive habits, cursing the splendors of a pastoral landscape that he has spent decades nurturing.

This film takes us into the harsh realm of BC's early coal mines, canneries, and lumber camps; where primitve conditions and speed-ups often cost lives. Then, the film moves through the unemployed' struggles of the '30s, post WWII equity campaigns, and into more recent public sector strikes over union rights.

After his Tokyo farewell ceremony, Yamamoto's ashes were sent to Kyoto on March 9. Many friends and citizens gathered at his home in Uji. On the 15th a worker-farmer funeral was held at the Sanjo YMCA. Prokino's Kyoto Branch shot these five days of activities. The long line of cars is filled with taxis, whose drivers deeply admired Yamamoto. The Watanabe in the title refers to the head of the Communist Party of Japan. Watanabe was returning to Japan from Taiwan when he was stopped by authorities. He committed suicide in their custody. Yamamoto and Watanabe were mourned together.

A main agenda of the prewar farmer's movement was struggle against landowners. Prokino also considered this as their prime concern. The main title sequence and the latter part of the film have unfortunately been lost. While we cannot see its entire structure, we can still get a glimpse of it from this surviving short.

La détresse au bout du rang

On the 5th of March 1985, a crowd gathered in a South Yorkshire pit village to watch a sight none of them had seen in a year. The villagers, many of them in tears, cheered and clapped as the men of Grimethorpe Colliery marched back to work accompanied by the village’s world-famous brass band. The miners and their families had endured months of hardship. It had all been for nothing. The miners had lost the strike called on March 6th 1984. They would lose a lot more in the years to come. But was it a good thing for the country that the miners lost their last battle?

Presents a case history of a grievance case from the initial causes to the final settlement. Shows how grievance hearings enable labor unions and management to arrive at compromises in settling disputes.

A detailing of the plight of white South African farmers.

For ten years, Raymond Depardon has followed the lives of farmer living in the mountain ranges. He allows us to enter their farms with astounding naturalness. This moving film speaks, with great serenity, of our roots and of the future of the people who work on the land. This the last part of Depardon's triptych "Profils paysans" about what it is like to be a farmer today in an isolated highland area in France. "La vie moderne" examines what has become of the persons he has followed for ten years, while featuring younger people who try to farm or raise cattle or poultry, come hell or high water.

The super-rich determines virtually every aspect of the lives of the other 90% of Americans. This film examines the hidden struggles of American families, the calculated political maneuvers of the elite, and the long overdue uprising of American workers. With affection for the middle-class and the outrageous attempt to color them as lazy, the film explores the question: How do we make sure workers are paid what they are worth, instead of believing they are only worth what they are paid?

Mein Name sei Altmann

Bolivia's Climbing Cholitas - a group of indigenous women scaling the Andes Mountains, some of the highest peaks in the world. Shot in Bolivia for Vogue Latin America and Vogue Mexico's 20th anniversary cover story.