Social & External
What does it mean to be Black in America in the 21st century? The recently formed Black American film group TNEG™ has set out to elucidate this very question. Hearing from the likes of fine artist Kara Walker and musical artist Flying Lotus, the film is based on a deceptively simple approach -- asking a refined list of black 'specialists' as well as 'uncommon folks' questions about what they think, and more importantly as lead director Arthur Jafa states, 'What they KNOW' -- the film is an unprecedented 'stream of the black consciousness' and a strikingly original and rarefied look at black intellectual and emotional life. What's so unorthodox about this simple approach is that the interviews were recorded separately from the images in the film. What results is a breathtaking, kaleidoscopic look of American black life from the dawn of three original filmmakers.
Since the enactment of the Anti-Boryokudan Act and Yakuza exclusion ordinances, the number of Yakuza members reduced to less than 60,000. In the past 3 years, about 20,000 members have left from Yakuza organizations. However, just numbers can’t tell you the reality. What are they thinking, how are they living now? The camera zooms in on the Yakuza world. Are there basic human rights for them?
A 90-minute special reuniting the main cast of the American sitcom, "The Golden Girls", where they share their favorite moments from the show, behind-the-scenes footage, and plenty of laughs
The absorbingly cinematic Ascension explores the pursuit of the “Chinese Dream.” Driven by mesmerizing—and sometimes humorous—imagery, this observational documentary presents a contemporary vision of China that prioritizes productivity and innovation above all.
In his new film, Erwin Wagenhofer is looking for the good and beautiful in this world.
This documentary by Léa Clermont-Dion and Guylaine Maroist plunges us into the vortex of online misogyny and documents hatred towards women. This bleak opus, reminiscent of a psychological thriller, follows four women across two continents: former President of the Italian parliament Laura Boldrini, former Democratic representative Kiah Morris, French actor and YouTuber Marion Séclin, and Donna Zuckerberg, a specialist in online violence against women and the sister of Facebook’s founder. This tour de force reveals the devastating effects such unapologetic hatred has on victims, and brings to light the singular objective of cyber-misogyny: to silence women who shine. Some targets of cyber-violence will crumble under the crystallizing force of the click. Others, proud warriors, will stand tall and refuse to be silenced.
Openland is an art film guided by issues surrounding micro states and its derivative definitions. Through intertwining interviews, meta-narratives, and digital landscapes, Openland unfurls a dialogue between consciousness, individuality and collectivity.
In a Parisian public hospital, Claire Simon questions what it means to live in women’s bodies, filming their diversity, singularity and their beauty in all stages throughout life. Unique stories of desires, fears and struggles unfold, including the one of the filmmaker herself.
The Executive Empress explores the entrepreneurial lives of several Florida women, who have turned their unique passions into successful businesses.
The film does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie covers the two-month time period during 1977 when a businessman was kidnapped and later murdered by the left-wing terrorists known as the RAF-Rote Armee Fraktion (Red Army Fraction). The businessman had been kidnapped in an effort to secure the release of the original leaders of the RAF, also known as the Baader-Meinhof gang. When the kidnapping effort and a plane hijacking effort failed, the three most prominent leaders of the RAF, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe, all committed suicide in prison. It has become an article of faith within the left-wing community that these three were actually murdered by the state.
THE PERFUMED GARDEN is an exploration of the myths and realities of sensuality and sexuality in Arab society, a world of taboos and of erotic literature. Through interviews with men and women of all ages, classes, and sexual orientation, the film lifts a corner of the veil that usually shrouds discussion of this subject in the Arab world. Made by an Algerian-French woman director, the film begins by looking at the record of a more permissive history, and ends with the experiences of contemporary lovers from mixed backgrounds. It examines the personal issues raised by the desire for pleasure, amidst societal pressures for chastity and virginity. The film discusses pre-marital sex, courtship and marriage, familial pressures, private vs. public spaces, social taboos (and the desire to break them), and issues of language.
A green lawn like an unused carpet, encircled by a neat forest edge, in the background the steaming cooling towers of a coal power station – impressionistic camera images from Lusatia. They summarise in one pan how a used-up utilitarian landscape is trying to recultivate itself. Can ancient identity and language be re-discovered amid this strange artificiality? The director travelled through this region in search of her origins. She was born here, in Lusatia. This is her home and that of the smallest of all Slavic peoples: the Sorbs.
August 29, 1979, Talavera Bruce Penal Institute, Bangu, Rio de Janeiro. After serving eight years in prison, Inês Etienne Romeu, the only survivor of the "House of Death" in Petrópolis and the first political prisoner sentenced to life in prison in Brazil, left prison benefiting from Amnesty. Norma Bengell filmed this moment: from the prison door to her home with her family, Inês was welcomed by family, friends and members of the Brazilian Amnesty Committee, in what marked the first act of the historic denunciation that Inês would carry out against her tormentors and the Military Regime.
An intimate and political history of the French working class from the early 1950s to the present day.
This short film is a series of vignettes of life in Saint-Henri, a Montreal working-class district, on the first day of school. From dawn to midnight, we take in the neighbourhood’s pulse: a mother fussing over children, a father's enforced idleness, teenage boys clowning, young lovers dallying - the unposed quality of daily life.
Approximately, because so-called "ethnic" statistics are prohibited, there are an estimated 3.3 million black French citizens. Distant descendants of slaves from the Caribbean or "indigenous" peoples from the French colonial empire in Africa, they constitute a minority that is often discriminated against. Isabelle Boni-Claverie, a mixed-race woman raised in the affluent neighborhoods of Paris, daughter of an Ivorian politician and granddaughter of Alphonse Boni, a Black man who became a magistrate of the French Republic in the 1930s, examines what is blocking the social advancement of Black French people and the full recognition of their citizenship.
The film explores the potential for automation in every sector of employment and questions the integrity of our methods of resource distribution going into the future.
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