Living in Fear

Documentary about a lodging house, owned by Rosa Carbajal, at the corner of Shakespare and Víctor Hugo streets.

Documentary portrait of the New York photographer Nan Goldin.

THE UNSEEN is a short documentary about four small business owners who tell their personal stories of risk and sacrifice to keep their dreams and provide for their families while they fight local authorities who wish to put them out of business in the name of combating a virus.

Renowned critics of Israeli policies – Noam Chomsky, Norman Finkelstein, Sara Roy and Robert Fisk – provide personal substance and historical perspective to their arguments in this impressive film by New Zealander Sarah Cordery.

In 2010, the iconic Tote Hotel – last bastion of Melbourne’s vibrant music counterculture – was forced to close by unfair laws. Filmed over 7 years, “Persecution Blues” depicts the struggle of more than 20,000 fans – and the bands who inspire them – to preserve their history and protect their future, and puts the audience on the front line of an epic-scale culture war.

Ella Fitzgerald's voice is a phenomenon and unrivalled to this day. She had the perfect pitch and perfect intonation. Ella's voice spanned three octaves, her phrasing seemed effortless. There is almost no style of music, in which she did not excel, and her numerous - now legendary - recordings of the 'Great American Songbook' with pieces of US composers such as George and Ira Gershwin, Harald Arlen, Cole Porter or Duke Ellington, remained a benchmark for the "right" interpretation of those songs for generations of singers. In the film the focus will be on the voice of Ella Fitzgerald. We want to unravel the secret of her voice through many different people (musicians, singers, critics etc.), who will tell about what impact her voice had on them and still has. We want to learn more about Ella´s life to find out what made her sing like she did and only she could.

A short documentary exploring the ways LGBT couples show affection, and how small interactions like holding hands in public can carry, not only huge personal significance, but also the power to create social change.

Metzer 58 play Punk. They were founded in a meet-up at Lebenshilfe Münster, an NGO that provides housing and other services to people with disabilities. The band consists of disabled people and able-bodied people. That doesn't really affect the topic of their songs or the amount of chaos and excess at their gigs, though. In this documentary, director Tobias Stiegler follows the band on tour and paints an intriguing portrait of Metzer 58

One Saturday morning, filmmaker Madison Thomas has a revelation: she’s just like her mother. As she thinks about a friend going through tough times, she feels the sudden urge to clean. Through the scrubbing and wiping and rinsing, Madison's thoughts drift to her mother — and her obsessive need to tidy. Madison’s mother survived a traumatic childhood: her own mother never reconciled what she went through at residential school. Cleaning offers moments of control that she didn’t have as a child. She’s fought hard, against all odds, to become a strong woman. They say trauma is in the genes, that it’s passed from one generation to the next. But strength is inherited too. Through rituals as simple as spending time together and smudging, Madison and her mother are beginning to mend the cycle of pain in their family. Declutter is an intimate look into a private moment between mother and daughter and the strength that carries them both.

A moving account of the experiences of men exonerated after years, and sometimes decades, in prison following newly found DNA evidence.

With sometimes painful directness, Valie Export conducts a psychological investigation of the body in this film performance, externalizes an internal state. In front of a police photo showing two children who were sexually abused by their parents, she tortuously cuts into her cuticles until blood drips into a bowl of milk on her lap. On top of the symbolic plane of blood and milk, the physical effect on the viewer of her destructive act of self-mutilation is extreme.

With being thrown off buildings an occupational hazard, professional stuntwomen Jeannie Epper and Zoë Bell (the alter egos of Wonder Woman and Xena, respectively) would seem well-equipped for any challenges Hollywood might dish out. But finding roles -- and respect -- in a male-dominated field can prove more harrowing than dodging punches.