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One night in November 1976, after his car breaks down on a road outside Dallas, Randall Dale Adams accepts a ride from teenager David Harris. Harris is driving a stolen vehicle and, later that night, when Dallas police officer Robert Wood pulls the car over to check its headlights, he is shot and killed. A jury believes Adams is the killer, but stylized reenactments and interviews with key figures, conflicting testimonies and evidence are presented to argue that Adams was framed by a corrupt justice system, ultimately leading to his exoneration.
In an unfair country women work day and night far from home while their children learn to survive between loneliness and emptiness. They grow to become teenagers, locked down in one of many low income neighborhoods made up of identical small houses, outlined by overcrowding and scarcity. Their mothers, mostly workers in transnational factories, go in and out in buses that take them to a work place where they carry out twelve hour shifts two hours away from home, while their children muddle through their upbringing in tiny houses of 40 square meters. In spite of everything, they look for a way to move ahead and chase their illusions. This is a story full of youthful aspirations set in a context of difficulties and shortages.
Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.
She was the first to study gorillas in their natural environment: the high mountains of Rwanda, where she settled in 1967. For nearly twenty years, Dian Fossey lived with the gorillas, observed their behavior, and changed the way people viewed them. Her relentless fight against poaching prevented the species from becoming extinct. But in December 1985, the primatologist was murdered, and the mystery surrounding her death remains unsolved. Former colleagues, scientists, and biographers shed light on the impact of her work, but also on the darker sides of her personality and her uncompromising commitment.
The story of how police repeatedly allowed a serial murderer to slip through their fingers. Stephen Port date-raped and murdered four young gay men in East London within fifteen months and dumped all four bodies within a few hundred metres of each other. The film tells the story through eyes of the families of Port's victims, unpicking how the police failed to properly investigate each of the deaths in turn. The police's assumptions that these young gay men had died from self-inflicted overdoses of chem-sex drugs allowed Port to continue raping and killing innocent young men.
Between January 1st and 31 December 2017, 768 people died as a result of murder or manslaughter in Britain - approximately 14 people a week. This powerful and original film tells the stories of some of those cases, exploring the human cost of murder - the ordinary people whose lives are changed forever and the communities left to wrestle with the consequences. Filmed over 12 months, it follows families and friends from the immediate aftermath of the crime, through the court process, and as they try to rebuild their lives. These stories are shown alongside statistical analysis of homicide figures for Britain since the Millennium, which reveal that so far this century, the pattern of homicides has remained strikingly similar in terms of the profiles of victims and the circumstances of the killing. This urgent, unflinching and intimate film goes beyond individual incidents to ask what the patterns of murder in our time say about the state of Britain.
