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1-44 of 44
- Guinea-Bissau, 1969. A violent war between the Portuguese colonial army and the guerrillas of the African Party for the Independence of Guinea and Cape Verde. Nome leaves his village and joins the Maquis resistance group. After years, he will return as a hero, but joy will soon give way to bitterness and cynicism.
- Thibault, Isabelle and their son Jeremie board their sailboat Joshua to sail the world and live a new life. The Gulf of Aden is watched over by Somali pirates, and while stopping in Djibouti, the happy family meets Mike, a black they know nothing about but innately trust. Inviting Mike to board the ship, the quartet travels onward in their sailboat.
- Features Haraway in a playful and engaging exploration of her life, influences, and ideas. Best-known for her ground-breaking work on gender, cyborgs, animals and post-colonialism, Haraway is a passionate and discursive storyteller with a curious and nimble mind. Story Telling For Earthly Survival is a clever and insightful glimpse into the thoughts of a major contemporary figure.
- Shot entirely on day for night, this wildlife eco-horror follows the trajectories of endangered species fleeing to escape extinction, in a sombre plot in which the animals look back at us.
- Nanou's first true love story comes to an abrupt end. Rajwa treads carefully into a monogamous relationship. From 2008 to 2013, I accompanied them through their stories of passion and anguish, carrying with them their determination to arrive at the heart of things: to enter the hidden crevices of love, to uncover truth, all for the ever-elusive goal of understanding the essence of their own complex personalities. I entered their world to find answers to my own questions, to use their lives as my lens into discovering new forms of love. I stand at the intersection of friendship, love and seduction, unable to express the extent of my fascination for these women.
- The mysterious connections between love stories, ghosts and cinematography, through the feeling of "haunting", and being haunted.
- At first, Foyer seems to be a projection without film, where the only thing visible is a palpitating white screen. Voices accompany this white emptiness.
- A group of poachers are following two elephants on a journey to find the mythical elephant graveyard, which leads into mysterious territories that will involve death and reincarnation and their relation to Buddhism and Hinduism.
- Filipa César turns his gaze to Guinea-Bissau, where at the beginning of the 1970s the advocates of a militant cinema captured the freedom struggle and the first years of independence.
- Through documents and landscapes we see the passage of a French-Algerian man into a Jihadist network in Syria, but we never actually see the man in question himself.
- A ghostly hand emerges from the water to clutch a branch. A friendly branch that can offer refuge in the lowlands. During the anticolonial struggle against Portuguese occupation, the free schools in Guinea-Bissau had to relocate frequently to avoid the bombardments. The schools moved deep into the jungle and found the mangroves. A vegetive system that seems to have grown and developed for no other purpose than to protect the schools from the bombs and from the teachings imposed by the colons. It is as if this impassable ecosystem were inviting struggle. Just as mountains, maquis and jungles provide haven for guerrillas, in Guinea-Bissau nature is an ally. Filipa César and Sonia Vaz Borges film the mangroves as an infrastructure with a networked architecture. It is here that they place the young bodies of students to whom the legacy of the anti-colonialist struggle and this environment is handed down. The filmmakers reinvest the mangrove as the locus of transmission, of radical education, attentive to the memory of the struggles. The film becomes a guide on how to occupy its branches. The weaving and merging created with the help of the mangrove are reproduced, knowledge is restored. The friendly tentacles recall the struggle to repel the colonial occupation that worked to tear up the roots of men and women. The mangrove's branches are powerful and encourage networks, collectives and horizontality. It is the rhizome structure of Deleuze and Guattari, far removed from single, vertical and hierarchical roots: a structure that resists.
- On present-day Reunion Island, Patrice finds out about his brother's murder from the mouth of his killer. The same day, he is evicted from his own house. Whilst his mother cries out for revenge, Patrice would like to find a home... and keep his mind.
- From Colorado, where he has chosen to live, Fouad Mennana begins to trace his late grandfather - Amara Mennana - an Algerian farmer expropriated from his land and deported to the prisons of French Guiana in 1926.
- Two undefined intelligences are intercepting earthly footage of humans living in an area known as the Low Lands. The researchers exchange their findings through a visual feed, in an attempt to understand the occurrence of extraordinary apparitions. The onlookers' efforts to understand an enchanted human world are interrupted by another signal which imposes itself on the unfolding investigation, resulting in a play with the logic of the production of meaning. Through a combination of found footage, sci-fi and poetry, Odyssey interrogates the visual rhetoric of whiteness in the specific Dutch colonial project and evokes questions about the stories we're told and our possibilities to disrupt them.
- Reflecting on the legacy of Haitian revolutionary Toussaint L'Ouverture, follows a collective's process of translating Édouard Glissant's play Monsieur Toussaint from French to Creole.
- Navigating by night near the Comoros islands, Patron, a young orphan, follows the instructions of his adoptive father to become a Commander. Soon, he will have on charge of take safely his first clandestine travelers to Mayotte.
- Topo y Wera is the result of Jean-Charles Hue's engagement with the poorest residents of the Mexican border-city of Tijuana that has long thrived on its proximity to California, but is also marked by crime-ridden deprivation. This is tough, unvarnished stuff; a glimpse into lives on the hardscrabble margins of society that many may find too much to stomach.