Jozi, I Write My Story

In the urban intensity of Johannesburg, Jesus is a special woman. She has powers she herself doesn’t understand. After her friend Mary arrives at her doorstep having been beaten up, Jesus has to choose whether to stay and nurse Mary or take revenge on the deadly Giant.

A documentary that tries to explain the reason for the passion of the Mexican football fandom.

If God came down to earth and try to earn a living in Bombay, most probably he would become successful as a voice over artiste, lending his voice to thousands of Hindi movies and even more documentaries and public service films in India.

Composed from the conversations that the director holds with people passing by in the street under his Warsaw apartment, each story in 'The Balcony Movie' is unique and deals with the way we try to cope with life as individuals. All together, they create a self-portrait of contemporary human life, and the passers-by present a composite picture of today's world.

Christopher Kerr is a hospice doctor. All of his patients die. Yet he has cared for thousands of patients who, in the face of death, speak of love and grace. Beyond the physical realities of dying are unseen processes that are remarkably life-affirming. These include dreams that are unlike any regular dream. Described as "more real than real," these end-of-life experiences resurrect past relationships, meaningful events and themes of love and forgiveness; they restore life's meaning and mark the transition from distress to comfort and acceptance.

An experimental film following a trip made by three friends in which the contrast between the agitated city of São Paulo, Brazil and the calmness of the beach leads the flow. No script. No story. Just vibes.

In the heart of Riyadh... Souq Al-Zal, between heritage and simplicity, the film depicts the dreams that simple people desire in life.

Enduring 28 days of relentless construction labor, Frank struggles to prep a house for painting amidst Phoenix's scorching pandemic summer.

A representation of queer and feminist imagery that was mainly shot in the Qinghai-Tibetan Plateau, remote and developing areas in southwest China, and metropolitan cities like Beijing from 2000 to 2004 to document the social changes in contemporary China. The director sympathetically and erotically represents a variety of women, including women as laborers, women as prayers, women in the ground, women in marriage, and women who lie on the funeral pyre with their dead husbands. Her camera juxtaposes the mountains and rivers in old times, the commercialized handicrafts as exposition, the capital exploitation of the elders’ living space, and the erotic freedom of the young people in a changing city.