Glimpses of Morocco and Algiers

A film about a woman who doesn’t exist. Moroccan Hind was raped and consequently denied an official identity – she has no other choice but to work as a prostitute and traditional wedding dancer, but despite the odds of her situation, refuses to give up her dream of dignity, motherhood and love. This is a story of modern day outlaws, children of prostitutes, abandoned child brides and those who have had to escape to the fringes of patriarchal Moroccan society. Through the eyes of one young woman we see a life of constant struggle, but also a life free of the society’s norms and boundaries. The woman in the centre of the film, Hind, is both vulnerable and courageous as she tries to regain her life, her children and her mere right to live as an equal human being in the 21st century.

An astonishing English tourist’s view of street life in pre-partition Srinagar and Kashmir.

Inspired by The Seven Valleys, the film follows a solitary wayfarer who steps onto a spiritual journey of self-knowledge, guided not by destination but by transformation. Shot across the historic landscapes of Oxford, the journey unfolds as both an inner pilgrimage and a physical passage that reflects the wayfarer’s movement toward surrender, silence, and submission.

During the oppressive reign of Moroccan King Hassan II in the 70s and 80s (Years of Lead), many dissidents went missing. After the throning of a new king, a truth commission was formed in the 2000's. Families of the missing speak.

El Viaje - A Road Trip into Chile's Musical Heritage

Join drummer Martin Atkins and his industrial rock band Pigface for this document of their epic 2005 tour of the United States. Visits backstage and interviews with the band meld with the concert footage to create the ultimate Pigface experience. Witness rehearsals, life on the road, collaboration with Nocturne and Sheep on Drugs and the challenges of setting up and tearing down the stage as the band hits venues from New York to San Diego.

Filmed chronicle by mountain filmmaker Mario Fantin, of the 1964-1965 expedition of the Italian mountaineer Guido Monzino to the summits of Hoggar in the Algerian Sahara with the ascents of Garet el Djenoun, Tizouyag Nord, Saouinan and Iharen. The mountain ranges of the Hoggar desert turn out to be more complex and interesting than most mountaineers suspected at the time.

The hidden story of a savory local specialty found only on the French Riviera and the surrounding areas. Socca enjoys a historical and cultural significance that far outweighs its simple and rustic four ingredients. How Nice!

CYCLING CITIES covers the most beautiful cycling cities in Europe and asks the question how they achieved to transform their mobility from car centric to bicycle centric. The film also covers measure how to become a more climate friendly and climate resilient city by looking at recent examples in Paris. At the end the movie sums up what other cities like in Germany can learn from the respective cycling cities.

From dawn till dusk in the bohemian heart of London’s West End. This 1979 portrait of the people and places of Soho catches the neighbourhood towards the end of an era. There's some great footage inside an Italian delicatessen and of assorted street characters. It's a fascinating glimpse into this walled garden of cosmopolitan life on the cusp of the gentrification and commercial interests that have since broken its borders.

A motorist's excursion captures a world made by hand in the environs of Rawalpindi, Lahore and Karachi.

This one-off TV special follows the exploits of camp comic Graham Norton on a visit to Tokyo. Staying with a Japanese family, he explores the city's seedy side, visits the home of a famous Japanese make-up artist, and has an embarrassing experience with an electronic toilet/bidet.

In 1964, Algeria, just two years after the end of the war of independence, found itself catapulted into new contradictions, a still rural territory which responded to the modernity brought by the revolution. Filmed during the winter of 1964-1965 by the young director Ennio Lorenzini, it is the first international Algerian production which paints a rare portrait in color of a multifaceted nation, far from the simplistic vision created by the press and the French army. Produced by Casbah Film, Les Mains Libres (initially titled Tronc De Figuier) bears witness to the stigmata of colonization and the future of free Algeria throughout the Algerian territory and reveals the richness of its landscapes and the diversity of its traditions . The documentary, using the aesthetics of militant cinema of the time, is made up of four scenes: Sea and Desert, The Struggle, The Earth, Freedom.

Rare stencil-coloured images of early 20th century Delhi during a Muslim festival.

The Moroccan Labyrinth

After learning to 'write what you know,' in film school, Half-Filipino and Half-White aspiring filmmaker Andrew Orticio travels back to his father's village in the Philippines to understand his mixed identity.

Iceland is one of the wildest places on earth. You could be caught up in the midst of snowstorms and blizzards, but you are never alone... Although tourists from all over the world have started a silent invasion, nature keeps on winning.

A behind-the-scenes look at "Viagens", one of the greatest portuguese records of the 1990s, in the year of its 20th anniversary.

American high school students from the privileged Silicon Valley travel to Manang, Nepal in this documentary about how travel and life experiences can change personal perceptions. Together with a group of Manangi high schoolers, the students expand their cultural knowledge and experience a slice of life as a citizen of the globe.

“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.