Sophia & Han - Robots

A comic, biting and revelatory documentary following a small group of prankster activists as they gain worldwide notoriety for impersonating the World Trade Organization (WTO) on television and at business conferences around the world.

In his new film, Erwin Wagenhofer is looking for the good and beautiful in this world.

After twelve years in exile, Syrian journalist and filmmaker Daham Alasaad returns to Homs, devastated by the war in Syria. Once the city of his childhood, it is now a relic of an authoritarian regime, where different communities (Sunnis, Christians, Alawites) are trying to rebuild their lives together after terrible years of division and destruction. Thanks to Daham Alasaad's close relationship with the city's inhabitants, the director highlights some very moving characters, torn between grief, fear, the need for justice, and the desire for peace and reconciliation. By opening up naturally to the camera, they allow viewers to experience what Syrians of all backgrounds are going through today. "Homs-Syria, Life After" is a personal and political investigation into the ability of this symbolic city to rebuild hope on the ruins of a Syria ravaged by more than fifteen years of war and facing an uncertain future.

Documentary approach follows six people (and a robot) who transform their lives using stillness and mindfulness.

In a boarding school, legend has it that a time capsule has been hidden in the walls. They say it could change the world. Today, the new students fall in love, play cards, dream and laugh in their rooms, which in turn become their own time capsules, like snapshots of a generation at 20 years old.

Klaus Kinski has perhaps the most ferocious reputation of all screen actors: his volatility was documented to electrifying effect in Werner Herzog’s 1999 portrait My Best Fiend. This documentary provides further fascinating insight into the talent and the tantrums of the great man. Beset by hecklers, Kinski tries to deliver an epic monologue about the life of Christ (with whom he perhaps identifies a little too closely). The performance becomes a stand-off, as Kinski fights for control of the crowd and alters the words to bait his tormentors. Indispensable for Kinski fans, and a riveting introduction for newcomers, this is a unique document, which Variety called ‘a time capsule of societal ideals and personal demons.’

In THE COLOR OF FEAR, eight American men participated in emotionally charged discussions of racism. In this sequel, we hear and see more from those discussions, in which the men talk about about how racism has affected their lives in the United States. We also learn more about the relationships between them, and about their reactions during some of the most intense moments of that discussion.

Eight American men of different ethnic backgrounds discuss homophobic prejudice against gay men in the United States, sharing their fears and personal experiences of bigotry, demonization, and ridicule.

In a studio setting, Stephen Hawking, Arthur C. Clarke and Carl Sagan (who joins them via satellite) discuss the Big Bang theory, God, our existence as well as the possibility of extraterrestrial life.

As France's first ZAC (Zone d'Aménagement Concerté, or concerted development zone), Grigny is the ideal place to describe how France transformed its dream of a happy suburb into an impoverished urban nightmare. The film aims to leave the camera rolling throughout the story, to discover the inhabitants and the labyrinths of yesterday and today, and to answer the essential questions. From the residents to the architects, including the city of Grigny, the mayor, the prefect, the landlords, and the ANRU (National Agency for Urban Renewal), the film examines and deciphers the consequences of what happened in Grigny and the state's housing policy. Through the analysis of Grigny's history, we see how the state has participated and continues to participate in the creation of social exclusion.

This is not just a “folkumentary”, but an invitation to reflect on the future of humanity on a planet where tradition and technology coexist, and where the unknown reminds us that there are still unanswered questions.

Creating a Monster is about reality television and sub-textually confronts a bigger ethical question about the psychological impact on the contestants; is the fault placed on reality television producers or the audience who consume it?