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Short documentary about—the now closed—Olympic Doughnuts in Footscray, Melbourne.
Jackie Brutsche tries to unravel the dark secrets of her family and answer unanswered questions about her mother.
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Edward Said, a Palestinan writer, academic and exile, talks about his book "Culture and Imperialism" and explains how the attitudes forged over the last 200 years continue to enforce the relationship between the west and the developing world.
Downtown has become a frontier of creativity where new ideas flourish. From raw and tragic beginnings, it has grown from a groundswell of spontaneous gap filling into a force that could redefine the shape of the future city. Projects like Gap Filler’s Dance-O-mat and Pallet Pavilion, the profusion of street art and Peter Majendie’s 185 Empty Chairs Memorial have become iconic symbols of the grassroots urban movement and provide sharp contrast to central Government’s big business, corporate driven approach to the rebuild of the city. Soon, a new city will arise, but whose city will it be, and will the creative energy that brought life to the rubble be a part of its future? The Art of Recovery documents one of the most dynamic, creative and contentious times in the history of Christchurch. It tells an uplifting story of resilience and community spirit that informs a greater conversation about how we live together, and how our we build our cities.
Four dancers from Israel, Spain and Italy decide to take part in a cultural project and investigate the stories of some refugees from Pakistan living in camps outside Berlin. A reflection about the possibility of the body to tell stories, deleting social and ethnic distinctions, and connecting people from different groups.
The film takes place on December 21, 2012, while the people of the town of Quillagua await the supposed "end of the world" that the Mayans predicted for that day.
Questions of race, identity and heritage are explored through the lives of young American women growing up as adoptees from China. These four distinct individuals reflect on their experiences as members of transracial families.
A documentary filmed in the mountainous region of Agrafa, Eurytania, in Greece.
The folkloric group "Nzale," founded in 1979 in Bangui, practices a traditional dance called "M'baka M'Bokou," which means "strength" and is a symbol of victory. It is a battle dance: each dancer wears the skin of the animal he wishes to incarnate. One dancer stands in the middle of a circle and fights the other dancers who come to confront him one after another.
For the Yamakasi the "Art of Displacement" is a way of life. Racing through the new cities that ring Paris, climbing walls, swinging from balconies and leaping across rooftops, they transform the oppressive concrete architecture into places of fantasy, possibility and play. The heart of our documentary is the story of how the Yamakasi are transforming the youth of the suburbs, and themselves, through discipline, will and desire. Now, as the Art of Displacement is being embraced as an extreme sport and urban pastime, will the social message be transmitted as well? What is it for the new generation?
Jerusalem can rightfully be called the hat capital of the world. Whereas the rest of the world has allowed its hats to gather dust in the closet since the 1950s, Jerusalem still teems with hats and caps. From soldier to monk, everyone is identifiable by his hat. Director Nati Adler, who is neither religious nor a hat-wearer, explored the how and the why of the hats of Jerusalem. His colourful and personal trip takes us along the diverse headdresses of the three religions populating the city. What begins as an innocent exercise by a curious documentary filmmaker develops as it were into a Pandora's box full of stories and history lessons. Every answer evokes new questions. Why do people in Jerusalem wear so many hats, what is a shtreimel, why don't Armenian Christians use their Turkish hats in their ceremonies, and why do women actually have to cover their heads?
A five-year visual ethnography of traditional yet practical orchestration of Semana Santa in a small town where religious woodcarving is the livelihood. An experiential film on neocolonial Philippines’ interpretation of Saints and Gods through many forms of rituals and iconographies, exposing wood as raw material that undergoes production processes before becoming a spiritual object of devotion. - A sculpture believed to have been imported in town during Spanish colonial conquest, locally known as Mahal na Señor Sepulcro, is celebrating its 500 years. Meanwhile, composed of non-actors, Senakulo re-enacts the sufferings and death of Jesus. As the local community yearly unites to commemorate the Passion of Christ, a laborious journey unfolds following local craftsmen in transforming blocks of wood into a larger than life Jesus crucified on a 12-ft cross.
Thirty years, three eras: they have been trying to save the Hungarian film industry again and again over the decades. Among these attempts were highs, lows, countless deals and compromises. And now some say that we are living in the saddest period of Hungarian filmmaking.
In the frigid waters off of Russia’s Bering Strait, Inuit and Chukchi hunters today still seek out the giant sea mammals that have provided their people with food since time immemorial. It is known, that the whale hunting today is controversial and subject to international criticism and regulations. But the Inuit and Chukchi hunt is permitted by international law because of the whaling is the foundation of their culture and their life. The contemporary story of elders Aleksandr and Aleksei blends seamlessly with that of “the woman who gave birth to a whale” and other ancient myths, told here in vivid animation, in this ongoing struggle for survival and preservation of a traditional lifestyle in one of the most remote places on earth.
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