Tins for India

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

The wildlife and cultures of southern Asia have been shaped by one of the greatest phenomena on Earth: the mighty monsoon winds that sweep across this vast region, turning drought into deluge. All life – human and animal – is dominated by this rampaging weather system. From the northern shores of Australia to the highest peaks of the Himalayas and the wind-blown deserts of northern India to the lush equatorial forests of Borneo, this series makes an exhilarating journey through the lands of the monsoon. Along the way, it offers a taste of the variety and colour of the different regions’ most extraordinary wildlife and cultures and the way they cope with the tumultuous weather. This is the story of a relationship between humans and nature that has grown across thousands of years – all living in the shadow of the monsoon.

Somi is pregnant with her second child. A girl, she hopes. Together with her husband she prepares for this new phase of their parenthood. It means that their son has to go to school, but as an ex-Naxalite that is tough to achieve in contemporary India, where people like them are third-rate citizens. They lack the certificates and an opaque bureaucratic process doesn't help. Directors Isabella Rinaldi, Cristina Hanes and Arya Rothe of the NoCut Film Collective concentrate on Somi's close family ties, painting a portrait of ex-Naxalites in India. Once, Somi and her husband were communist rebels fighting for the rights of Indian tribes. However, to safeguard their family's welfare, they surrendered to the government in exchange for marginal compensation and simple accommodation.

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

An insider's look on the making of Penn's tennis balls, from their creation in a factory to the final stages of quality control.

Sue Perkins immerses herself in the complex life of Kolkata and sees how it is reinventing itself as a megacity with a reputation for eccentricity, culture and tolerance.

A filmmaker's insight into the biggest gathering on earth -the Kumbh Mela.

A documentary about the industrial, urbanistic and social aspects of the Società Anonima Lavorazione Pelli (S.A.L.P) factory located in Rivarolo Canavese, thirty kilometers north of Turin.

A brief but colorful travelogue of India's biggest cities following the partition of the country in 1947 at the end of the British Raj.

Glow Worm in a Jungle is about Hema Sane, a retired botany professor, who has never used electricity in her life. Living surrounded by nature, amidst a concrete jungle, she shares her philosophy of life with doses of humor and wisdom.

MANUFACTURED LANDSCAPES is the striking new documentary on the world and work of renowned artist Edward Burtynsky. Internationally acclaimed for his large-scale photographs of “manufactured landscapes”—quarries, recycling yards, factories, mines and dams—Burtynsky creates stunningly beautiful art from civilization’s materials and debris.

Life on the road in India, showing the traffic, people and animals.

Hindu temples at Benares and Belur and the mythologies associated with them.

She is one of the last shepherdesses who still lives with her flock in the heights of the Gya-Miru valley in Ladakh. At the age of 50, Tsering is the youngest in her village to drive her 350 goats and sheep at the expense of transhumance in this region of the Himalayas, located between 4000 and 6000 meters above sea level. A harsh and precarious life, often solitary, mishandled by difficult climatic conditions and a sometimes hostile nature, which does not prevent this tiny bit of woman to sing, laugh and ... philosophize.

As a decades-old state-run aeronautics munitions factory in downtown Chengdu, China is being torn down for the construction of the titular luxury apartment complex, director Jia Zhangke interviews various people affiliated with it about their experiences.

To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film.

Maya, la tigresse du Maharashtra

In a poetic hour and a half, director Mani Kaul looks at the ancient art of making pottery from a wide variety of perspectives.

Lord Louis Mountbatten arrives in India in March 1947 as Britain's Last Viceroy. He is committed to transfer administrative and authoritative power to an independent and sovereign India. Six months later India indeed was set free, but it had also been partitioned and overwhelmed by an orgy of sectarian violence involving Hindus, Muslims and Sikhs.

Repping best view to date into the world of the Indian eunuch, “Between the Lines: India’s Third Gender” may not answer all the questions it poses, but helmer Thomas Wartmann provides an intimate glimpse at a community whose members are considered pariahs and conduits of supernatural force. Following shutterbug Anita Khemka in her quest to discover why these castrated men fascinate and repel, docu concentrates on three personalities and uses them as guides to their highly stratified world. Under its nautch skirts, film has strong enough legs to step out into international arthouses.