Momsy

Je ne sais pas si c'est tout le monde

In 1999, Colorado mother Jessica Gonzales experienced every parent’s worst nightmare when her three young daughters were killed after being abducted by their father in violation of a domestic violence restraining order. Devastated, Jessica sued her local police department for failing to adequately enforce her domestic violence restraining order despite her repeated calls for help that night. Determined to make sure her daughters did not die in vain, Jessica pursues her case to the US Supreme Court and an international human rights tribunal, seeking to strengthen legal rights for domestic violence victims. Meanwhile, her relationship with her one surviving child, her son Jessie, suffers, as he struggles with the tragedy in his own way. Shot over the course of nine years, Home Truth chronicles one family’s incredible pursuit of justice, shedding light on how our society responds to domestic violence and how the trauma from domestic violence can linger through generations.

Following a series of intimate conversations between a former couple who lived through two years of domestic abuse, A Better Man infuses new energy and possibility into the movement to end violence against women.

As the months pass through her, Mai gives us a glimpse into old age that explores between being abandoned and being belonged, passing the time and living the time.

Are eligible Indigenous bachelors an endangered demographic in the 21st century? That’s the question cheekily posed by Tracey Rigney’s debut documentary short, which invites First Nations individuals to confide what they desire, what holds them back, and their hopes and worries about whether they’ll ever find The One. Endangered first screened at the Melbourne International Film Festival in 2005.

A documentary about the Women's Shelters and the centers for support for women escaping domestic violence.

Filmmaker Jonathan Caouette's documentary on growing up with his schizophrenic mother -- a mixture of snapshots, Super-8, answering machine messages, video diaries, early short films, and more -- culled from 19 years of his life.

Angdu is no ordinary boy. Indeed, in a past life he was a venerated Buddhist master. His village already treats him like a saint as a result. The village doctor, who has taken the boy under his wing, prepares him to be able to pass on his wisdom. Alas, Tibet, Angdu’s former homeland and the centre of his faith, lies far away from his current home in the highlands of Northern India. On top of that, the conflict between China and Tibet makes the prospect of a trip there even more daunting. Undeterred by these harsh facts, the duo set off for their destination on foot, accompanied by questions of friendship and the nature of life. With its narrative approach steeped in a serene sense of concentration, this documentary film, composed over a period of eight years, stands as a fundamental experience in its own right.

Celebrated author and Nation magazine sports editor Dave Zirin tackles the myth that the NFL was somehow free of politics before Colin Kaepernick and other Black NFL players took a knee.

Z lásky nenávist

The film is about the director’s mother, the movie actress Nina Antonova. Now she is 80. She has had hundreds of roles – big and small. It is a personal story about an honest and sad life, about self-sacrifice and freedom. Real fame as an actress came to her only once in her life. It was the leading role in the first Soviet colour TV series Varka’s Land. That was 45 years ago…

This project takes its shape from a conversation recorded between Rachelle and Toby, a real couple, living in Brooklyn.

Capturar (Las 1001 novias)

10 May 2007 - China's staggering economic growth has overshadowed a more subtle shift in Chinese society. In domestic life, many women are now ignore the advice of their mothers and grandmothers, turning instead to counselling hotlines and, increasingly, divorce.

The film follows the life of a large family over three decades and generations. The rising saga of a formerly homeless family survived since the mid-seventies solely thanks to the mother's figure, the strength and bond of this "Mama General". Following her motto, "one for all - all for one," she keeps the family together and tied. And yet, it is no longer like before. One force is noticeably weakening. Mama General is dying...

Christy Martin broke boundaries and noses as she rose in the boxing world, but her public persona belied personal demons, abuse and a threat on her life.

Gangstresses, a documentary by Harry Davis, tells the story of violence, poverty, and survival in the streets from a female perspective. Over a two-year period, Davis interviews female hustlers, drug dealers, rappers, porn stars, prostitutes, mothers, and daughters. Among them are Champagne, a well-known African American porn star who has a small child; Mama Mayhem, a street hustler; Uneek, a rapper from the Bronx; and Vanessa Del Rio, a famous porn actress. Musicians Lil' Kim, Mary J. Blige, Ice T, and Tupac Shakur also share personal stories of survival. The documentary conducts follow-up research on the women's complicated lives, offering glimpses of both tragic reality and hopeful recovery.

A film about a theatre performance and four very notable people behind it: writer and director D. Jovanović, actress M. Zupančič and actors R. Polič and B. Cavazza. This is a story of a love triangle and of a multi-layered, entirely overt intertwining of protagonists’ public artistic personas and their personal lives. The film documents a 4-month process of the making of a theatre piece from the first rehearsal to the opening night, at the same time uncovering the intimate lives of the artists and telling a universal story of the relationship between the real and the imagined, a story of personal and public perceptions of art.

This documentary film reveals how domestic violence occurs in real families. This film takes the audience into the stories hidden behind the doors of houses that appear peaceful from the outside, revealing the mental and physical suffering experienced by the victims. This film also tells the story of their struggle to find a way out of the cycle of violence, as well as the process of recovering from this trauma, by presenting narratives from victims, experts and psychologists.

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?