Fragments of a Revolution (Sahneye Tarikh)

Follows Anna Williams, an Oriental carpet repairer from New Zealand, on a pilgrimage to Iran, where she stays with the Qashqai, and then to London where she meets Sir David Attenborough to talk about the Qashqai and their traditionally woven rugs.

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

Errol Morris examines the incidents of abuse and torture of suspected terrorists at the hands of U.S. forces at the Abu Ghraib prison.

A hen questions the meaning of her life on a farm.

Las Preguntas que Perdimos

To produce speech, a set of mechanisms must be brought together. What is the normal articulation for speech? How to produce the sounds that make it up in the correct way? A physiological analysis of the aspects of speech shows us how: the jaw must move in a certain way; the air must be expelled from the lungs in another. Based on the concepts stated in the film "Normal Speech Articulation" (1965), produced by the University of Iowa (USA), we intend to reflect on the way women have been represented, and consequently educated, over the years, both in film and in the media. Largely composed of archival footage, this film intends to make evident, through a montage inspired by Structuralist movements, the violence of this education.

A condensation of a handful of sunsets with various visual moods. Red and blue as opposites that still find a way to cohere. Concrete silhouettes over an ever-changing, expanding canvas. Every movement is collective, molecular. Over an invisible horizon, a chance presents itself to meditate on the “speed” of water (and the sea) and also for a more fluid kind of editing.

Follow the animated journey of an Indigenous photographer as she travels through time. The oral and written history of her family reveals the story — we witness the impact and legacy of the railways, the slaughter of the buffalo and colonial land policies.

The film tells the story of the intimate and unprecedented encounter between the photojournalists of the Magnum Agency and the world of cinema. The confrontation of two seemingly opposite worlds – fiction and reality. For 70 years their paths crossed: a family of photographers, amongst them the biggest names in photography, and a family of actors and filmmakers who helped write the history of cinema, from John Huston to Marilyn Monroe to Orson Welles, Kate Winslet and Sean Penn.

Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism. Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts. Ray’s life and art were always provocative, engaging, and challenging.

Based upon a habitual fidget of the filmmaker involving the tags in his clothing, Reilly Mitchell explores the feelings of his past by removing something that has always stayed so close to him and turning it into something new.

Leyla and her six-year-old daughter Nila live in the holy city of Mashhad in Iran. Nila is the result of a temporary marriage, which allows a man to marry a woman even if he is already married. Children born from such a relationship are legally non-existent. As long as the father does not recognize the child, no birth certificate can be issued and Nila cannot attend school. The documentary depicts Leyla's tireless efforts to clarify Nila's legal status in order to offer her a perspective for her future. In a never-ending bureaucratic battle, Leyla fights not only against the legal system, but also against a judgmental society.

In this guided tour of a unique Persian carpet, a close-up of the delicate "spine" of a tree branches out into the discovery of a fantastical world.

The action is placed in a cramped flat in Warsaw’s district of Ochota. A father and a son, both bedridden, live in a fascinating symbiosis. The son, a well‑known photographer Bernard ben Dobrowolski, is lying in bed because a chronic condition has deformed his body and immobilized him. The father, Dominik, has recently suffered from a stroke. Now they are taking care of each other and crowds of visitors move through their room.

The creation of Iannis Xenakis’ « Persephassa » at the Shiraz-Persepolis Art Festival. There are only a few archives left of this piece, for its ring-like disposition around the audience made it difficult for people to record it or take pictures of it. When it was created in Persepolis, each percussionist was settled on the stump of a column of the Palace of Darius. The distance between them could go as far as 164 feet (50 metres).

A tribute to the cameramen of the newsreel companies and the service film units, in the form of a compilation of film of the cameramen themselves, their training and some of their most dramatic film.

The extraordinary untold story of Jacques Lowe, a young immigrant who, at just 28, became the personal photographer to President John F. Kennedy. Experience the untold stories behind the images that shaped Camelot.

A documentary about surrealist artist Salvador Dali, narrated by Orson Welles.

Documentary charting the fascinating life and work of Lee Miller, a model for Vogue in 1920s New York who became the only female photojournalist to cover the Second World War. Having given up photography in later life and virtually disowned her own work, Miller's extraordinary archive of 40,000 negatives was only rediscovered after her death. George Melly, David Hare, friends, colleagues and her only son, Tony Penrose, trace the story of her unconventional life through her own remarkable pictures and photographs, as well as rarely seen archive footage.

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?