The journey that brings immigrants back to the country of their childhood is an odd odyssey. It’s a closed session inside a car where we are held in custody by our memory, for a unique and exhausting day exploring the labyrinth of absence. A voyage full of questions about the relationship that binds us to the country of our childhood. This road-movie is a trip that runs against the current times where immigrants are permanently fleeing from misery and war.
Consumers love – and live on – their smartphones, tablets and laptops. A cascade of new devices pours endlessly into the market, promising ever better communication, non-stop entertainment and instant information. The numbers are staggering. By 2020, four billion people will have a personal computer. Five billion will own a mobile phone. But this revolution has a dark side, hidden from most consumers. In an investigation that spans the globe, filmmaker Sue Williams investigates the underbelly of the electronics industry and reveals how even the smallest devices have deadly environmental and health costs. From the intensely secretive factories in china, to a ravaged New York community and the high tech corridors of Silicon Valley, Death by Design tells a story of environmental degradation, of health tragedies, and the fast approaching tipping point between consumerism and sustainability.
One day, almost everything turned into a pile of rubble and garbage. There remained ghosts wandering through the fields, the ruins and the fog. But some of these ghosts are alive. There are those who stayed, those who came back, and those who roam through the difficult memories of this once most cursed neighborhood in the city. Only this Tarrafal, a slow death camp like those of Salazar's dictatorship, is not in Cape Verde but in Portugal.
In July 1939, a family separated in Lourenço Marques: the parents and the daughter Maria das Dores Afonso dos Santos, aged 7, depart for Timor, where the father will assume the position of judge; The sons, João and José Afonso dos Santos (the singer Zeca Afonso), aged 11 and almost 10, leave for Portugal, to their father's brothers' home in Coimbra and Belmonte, since there were no conditions in Timor to continue with their official studies. Less than two months after the separation, on September 1, 1939, Germany invaded Poland and, two days later Britain, France, Australia and New Zealand declared war on Germany and the 2nd World War began. In December 1941, Japan entered the war and, on February 20, 1942, invaded and occupied Timor.
The family will only be reunited six years later, in Lisbon, in February 1946. The parents and Maria das Dores, traumatised by the terrible life in a concentration camp for 3 years, the children João and José, asphyxiated by Catholicism and the increasing Germanism of the New State and shaken by a long period of comiserative orphanhood: after the Japanese invasion of Timor, the abrupt and absolute lack of news from the parents and sister was taken as "bad news".
Maria das Dores and João Afonso dos Santos, in their 80s, continue to vividly and emotionally recall this period of their young lives, as well as to movingly evoke the company of their brother deceased in 1987. Interlacing their memories and those of their brother José in a dialogue to which age, memory, poetic evocation and lasting feelings confer a unique drama and depth, we will weave the narrative of the family adventure of the three and portray a dismal time of our collective life.
Sabri, Saliha’s son, abruptly left for Syria one day to make the Jihad. He was 19. Three months later, Saliha, her husband and her children just as abruptly learnt of his death. Sabri left behind an empty room and devastated relatives. Saliha, in the face of this difficult mourning, decides to take action and mingles with other parents, other mothers whose children left for Syria. Some of them are dead, some others still alive and somehow manage to stay in contact with their families. Together they try to understand where this sudden radicalization comes from and how their children could be enlisted by the jihadist networks so rapidly. Today, the death of a youth who dies in Syria, as is the case for Sabri, is not legally recorded, the child is presumed absent, presumed dead. How can you mourn in such conditions? From the Belgian Parliament to the youths whom she meets in schools, Saliha endeavours to make things happen by witnessing the phenomenon of radicalization, the action of the recruiters and the fragilities on which it is founded. Jasna Krajinovic filmed this story within the intimacy of the families as well as their public action. With plenty of sensibility, she offers us her viewpoint and gives us the key to grasp the extent of this phenomenon which is crushing us nowadays. In Saliha’s home, we follow this family that is rebuilding itself in the mourning of a vanished son. In the public sphere, we perceive what is afflicting these families and the potential answers. It’s this double movement which contributes to the force of the film.
From July to December 2015, Bernard-Henri Lévy and a team of cameramen travelled the 1000 kilometres of the frontline that separates Iraqi Kurdistan from Daesh's troupes. From this journey, comes a logbook in images that offers a privileged view of a war that is unfinished but whose stakes are of global importance. In close quarters with the Peshmergas, these Kurdish fighters who show unfailing determination in their fight against obscurantism and Jihadi fundamentalism, the film takes us from the heights of Mosul to the heart of the Sinjar Mountains passing on the way via the last Christian monasteries threatened with destruction. Many remarkable characters make their mark on this account, men and women of an ilk one rarely encounters.
In the turmoil of the political chaos in Egypt, a young director comes back home to Cairo for the first time since the beginning of the revolution.
The Second Night is the final part of a trilogy that began with a letter from a filmmaker to his daughter, which was followed by dreaming films. The making of this “Cabin Trilogy” is the fruit of fifteen years of work and reflection.
Two brothers, an exuberant father and an invisible mother. A family of farmers from an alpine valley where life is rude, as well as manners.
Forty years after the Khmer Rouge regime: Kim Hak, a young Cambodian photographer looks for a new imaginary of his country. Nhem Ein, a photographer enrolled in the regime, took more than 14.000 mugshots of victims. Which image represents our country?
Since Kyrgyzstan gained its independence in 1991, there has been a revival of the ancient practice of Ala-Kachuu, which translates roughly as “grab and run”. More than half of Kyrgyz women are married after being kidnapped by the men who become their husbands. Some escaped after violent ordeals, but most are persuaded to stay by tradition and fear of scandal. Although the practice is said to have its roots in nomadic customs, the tradition remains at odds with modern Kyrgyzstan. Ala-Kachuu was outlawed during the soviet era and remains illegal under the Kyrgyz criminal code, but the law has rarely been enforced to protect women from this violent practice.
A Syrian activist group is threatened in south-eastern Turkey for their anti-Isis comedy videos and relocates to Istanbul to set up a TV show. However, once there even more barriers arise. Daya al-Aaesh is an anti-Isis satirical web series created by a group of Syrian videoactivists. They produce the episodes from their base in Gaziantep, Turkey. After receiving threats from IS supporters they leave to Istanbul with the aim to broadcast an improved topical-comedy show for Syrian TV. But obstacles keep arising in an already unstable situation, pressuring the group’s work and friendships. They are forced to make decisions about the future of their activism and the possibility of stable life in Istanbul, or elsewhere. This film is a refreshing take on the refugee crisis, the encroachment of IS and the fateful choices left to Syria’s youth.
During Franco’s dictatorship and until the late 1990s, babies were taken away from their unknowing parents after their birth, to be sold. Doctors, nuns, priests, social carers and nurses were involved. Many thousands of spaniards have found themselves in this scenario in recent years. They are called “ninos robados” – “stolen children”.
In 1992, the construction of the Lindoso dam (Portugal) forever flooded the villages of Aceredo and Buscalque (Ourense, Galicia). Its inhabitants could do nothing to save their land and their homes. Knowing that everything was about to be lost, several neighbors took their personal cameras and started to record. Their footage, recorded since the mid-60s, compose valuable historical and ethnographic evidence, colored by their subjectivity and their experiences. The footage is, at the same time, a demonstration of faith in the possibilities how home movies can register the time in which we have to live. Beyond the intimacy, it is revealed a portrait of the mechanisms how power is acting. The tension between the existential and the political, between past times and present reality, determine a story that projects in multiple ways beyond itself.
In what language will we tell the stories told to us? In what language do you write a declaration of love? Historic center of Lisbon, Bairro das Colónias, third floor. Fatumata and Aissato, the mother and first born of a large family from Guinea-Bissau, discuss love and happiness. By seven o'clock in the afternoon, from the third to my fifth floor, there was a regular sound across the building, always the same, like the beating of the heart. The sound rises up stairs and landings, through the walls, doors and corridors, it inhabits the houses, the kitchens and the interior balconies.
Penumbria, the dystopian, was founded two hundred years ago at an extreme of difficult access. Of arid soils, rough seas and violent climate, its name was due to the almost permanent shadow caused by a mountain to the south. Until one day, its inhabitants decided to surrender it to time. This is the story of an uninhabitable place.
This story reveals the irrevocable gregarious condition of the human being, showing through an artistic testimony, a fraternal feeling that doesn’t understand geographical, social or borders contexts.
Rui, just released from prison, lives with his aged mother Maria, who struggles to remember him.
The Life of Martita (65), who has worked for a family since she was very young, is discovered in this documentary fiction. Her life, her stories, her achievements, her jobs, her loves, her dreams are narrated through her own vision.
It is the little girl's Communion Day.
Down the lower-ground floor, as the seasons go by, an Albanian worker and an upper-class young man renovate a flat. High on the rooftop, as nightfalls go by, the young man and his friends reflect on their existence.
Julia Vuorinen is a 16-year-old whose smartphone is an important part of her daily routine, from waking up in the morning till going to bed at night. This documentary follows Julia’s day online and off.
One day, Frederico learns in school that people have a head, torso and limbs, and that if the heart stops people die. That night he did not sleep. He woke his mother several times in the middle of the night and told her that his chest ached.
Imagine an island. Within this island there is another island. And within this other island there is a city: a city with two different names. Inside this city with two names, flows a river. This is its autobiography.
Is the story of a river able to reveal a sense of life imprisoned by history? Despite the end of the conflict, in Northern Ireland there is still a city with two different names: Derry, for Catholics, Londonderry for Protestants. In the middle of the city, flows the river Foyle, which separates them as their liquid border: from 1969, when the most recent Northern Irish conflict started, most of the Protestants residents moved out of the area in fear of intimidation and sectarian violence. A dreamlike and surreal reverie on the concept of separation, border, (geographical and mental), narrated from the point of view of the river, who becomes the narrator and the protagonist, where dreams and reality are interlaces in a sort of magical autobiography of the river itself. Through dreamlike sequences and archive material made by ordinary Irish people in the 50’s, 60’s and 70’s in Derry and – through the voice of the river, tides questions our perception of past and recent events: what could it tell us? What does it know about us? Visually moving between past and present times, the river foyle invites us to reflect on issues that are going beyond its own edges - what is a border? Are the dreams of those who lived before the conflict different from those dreamed today? And above all, what happened to our dreams?
The various variants of animal energy were crucial to survival of the inhabitants of the Laboreiro Raia Seca in the Portuguese Galician border.
In the debate about which political-cultural community should border regions belong to, everyone has an opinion: from the controversial disputes between historians, philologists and politicians, to the more pragmatic positions of the inhabitants of these areas. They all refer to the evidence that administrative divisions often do not correspond to cultural identities. An approach to the construction of collective identities through the bordering municipalities of Galicia with Asturias, León, Zamora and Portugal.
The traditions and reflections of modern society in one of the most remote areas of Portugal. Three episodes (1 - "Inverneiras", 2 - "Transumancias", 3 - "Brandas") that describe the vital life cycles of the populations, emphasizing the cyclical migrations from the valleys to the mountain, and vice versa. Immigration is an extreme consequence of that situation, contributing to transform the habits and community structures of the region. Exteriors in Castro Laboreiro and Peneda - Gerês National Park.
On the African island of São Tomé e Principe, they say albino people are made from water and if they ever enter again, it will take them back. The young Abdelaziz has albinism and always feared the water growing up on his island. But he made the decision to cross the water to the other side, and work as a cook in a typical Portuguese restaurant in the tiny, traditional town of Castro Laboreiro.
The discovery of a village in the northern border of Portugal, where melancholy dictates the fate of Men. A story about the bravery of leaving and the resilience of staying in a land indifferent to sorrow.
In Castro Laboreiro we observe rocky hills with little villages spread out over the valleys and shepherd women taking care of the kettle and dressed in black. Through observing Isalina, the woman who dissolves in the landscapes of rocks and her daughter Leonor who divides the modern life and the rural one, we are able to understand intrinsically the lives and ethnographic profile of the Northern Portuguese Minho and Castro Laboreiro population. Portraying solitude with Pena D’Anamão on the background lingering persistently over the documentary.
Cevide, the northernmost village of Portugal, is a cursed place. Two ex-smugglers seek to save this place, each resorting to different methods. Antero is the keeper of the place, inhabiting it, trying to keep it as it once was. Mário is the face of one of its possible futures, trying to bring tourism to the village and transforming it into something new. The first marking stone of the Portuguese nation stands on cursed land. Is such fact irony or prophecy? How does Cevide’s curse manifest today? What are Antero and Mário: its condemnation or its salvation?