Last Woman Standing

One of Germany's stars of cinematography, embarks on the journey through his life. The film begins in the US and Hollywood - where Ballhaus established his international fame.

Sex, Lies and Love Bites The Agony Aunt Story, presented by psychotherapist and agony aunt Philippa Perry, is a witty and revealing look at the problem page's enduring appeal. In the documentary Philippa picks her way through three centuries of advice on broken hearts, cheating partners and adolescent angst to uncover a fascinating portrait of our social history.

Adela Peeva explores the national origin of a song common amongst a set of countries, and finds that the answer is not as simple as one might think.

Like many Palestinian families, the Amers live surrounded by the infamous West Bank Wall where their daily lives are dominated by electrified fences, locks and a constant swarm of armed soldiers. Through director Carolina Rivas' sensitive lens, we discover the private world of all eight members of the family. As their dramas unfold, we catch a glimpse of their constant struggles and the small, endearing details that sustain them, including olive trees, two small donkeys and their many friendships. Constructed with a combination of verité scenes and re-enactments, this poignant and richly crafted film offers its audience a much needed opportunity to reflect on the effects of racial segregation, the meaning of borders and the absurdity of war

Kalo (taro) production on each of the major islands of Hawai'i circa 1994. Meet the amazing people who love and continue to cultivate taro on lo'i that in some cases has been in the family for generations and centuries! Young, old, and family growers on Maui, Moloka'i, Hawai'i, O'ahu, and Kaua'i islands. Includes history/culture of kalo, Issues related to land and water, uses of kalo, and prospects for the future.

This is the planet we still know so little. We call it Earth but less than 1/3 is land, over 2/3 is water and we use that water as a dumping site for our waste and as if it's an inexhaustible "horn of plenty" for humans. Our most important ecosystem is on the verge of collapse unless we act now. At this very moment the main problem with the oceans is that they're getting emptier and emptier. If we don't do anything then we face one of the biggest disasters in history of mankind.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Since the uprising of a pro Russian insurgency in eastern Ukraine in 2014, hundreds of women joined the army. Only a few made it to the front line. Filmmaker Masha embeds herself in the war zone to follow the daily life of three of them. By sharing the intimacy of these fighters, Masha soon becomes a victim of this brotherhood conflict jeopardizing this film and her life.

Film Title Poem is comprised of over 500 film title cards.

A day in the life of Mozambican women refugees working in a quarry outside Dar es Salaam.

Portraits of contemporary African women from four West African nations: Burkina Faso, Mali, Senegal and Benin.

Shot by a reported “1,001 Syrians” according to the filmmakers, SILVERED WATER, SYRIA SELF-PORTRAIT impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film, if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in his dreams by a Syrian boy once shot to death for snatching his camera on the street.