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Words taken from lines of Nada Gordon's unrequited love poems, whose sentences are taken, in their turn, from anonymous web poems, reveal a history of sexuality.

What happens after death? Lila Ribi's 100-year-old grandmother Greti always has the same answer: There is nothing after death. The filmmaker sees things differently.

Today, liberated Kherson experiences constant shelling from Russian troops, making it perilous to open the theater's doors and welcome people inside. The theater stands empty, or so it appears.

(In)Visible Portraits shatters the too-often invisible otherizing of Black women in America and reclaims the true narrative as told in their own words.

Women who are HIV-positive discuss how they "came out" about their infection and became politically active.

On July 2nd, 2008, at five thirty in the afternoon, a 53-year-old man called Jean-Michel was run over by a train in Saint-Lyé, a town with a population of 3,000 located in the east of France. No one knew whether it was a suicide or an accident. The director investigates around the town, asks different inhabitants what they think of that tragedy. For many people, Jean-Michel had killed himself, after amassing too many worries and problems; the more the voiceover asks, the more mysterious it all gets. But there is a detail from Jean-Michel’s life that connects him to Argentina—he had been an employee at a phone company until a privatization left him without a job. (In)Voluntary Retirements is a documentary that shows how the kinship between Argentina’s politics in the ‘90s and France’s twenty years later damaged the lives of so many people.

"Greater is the hatred that has inspired us, than the sea that separates us from it" reads one of the most significant sentences of Simón Bolívar's Letter of Jamaica. The work revolves around this phrase, whose words appear and disappear in the course of the sequence of images, disjointed from the cohesion that brings them together only at the end of the video to form that programmatic declaration that defends independence. The sentence is thus evidenced as a procedural symbolic knot, the result of a complex history and its possible articulations. The images of the video, in a constant swaying of a boat in the water, open up to the dimensions of the immensity of that sea that serves Bolivar as a metaphorization of the magnitude of the hatred that forces him to revolt against the colonizers. It is a sea in which is inscribed, in turn, a new history, which, as a possible reading, forces us to think of other colonizations and economic dependencies.

"(In)fidèle" explores the relationship to fidelity of 10 people between the ages of 23 and 31. Infidelity is like the elephant in the room no one dares to talk about. It fascinates and sparks curiosity, but digging too deep might hurt. We keep it at a distance as long as we’re not personally involved, yet we indulge in gossip and "story times" when it’s about others. A distant way to either judge it or spy on it, but never truly confront it. And yet, the numbers speak for themselves: 41% of people have already been unfaithful at least once in their life, and that number keeps growing every year.

A young actor is stabbed to death just days after filming his big break in the Harry Potter franchise.

Being mother is the most natural thing in the world. Or so it seems. Yet the demands on women with children have rarely been as overloaded and contradictory as they are in today’s Western world. Promises of happiness are often followed by disadvantages, excessive demands and feelings of guilt. The mother has become an artificially glorified ideal, which nevertheless is often legitimized by the „nature of the woman“. We live in a time when three people could claim to be the same child’s mother: egg donors give their genes to beget children, surrogate mothers deliver babies which they give away immediately after birth, and men raise children by themselves – without a woman at their side. Hence the question arises: What makes a human being a real mother?

A look at the creation of “evangelion: Another Impact.”

A film about a zookeeper and his renewed relationship with his estranged daughter is fragmented and interrupted by the filmmaker’s own voice, reading an email to his sister about the roots of this story in their own shared history with an absent father. Through memory, dreams, and fiction, (No Subject) probes the various ways of representing the past in order to process and break free of it.

A young filmmaker decides to embark on an unusual quest: to find humor in the West Bank. Little does she realize that her offbeat road trip will lead her to discover a reality known to few beyond the walls surrounding Palestine.

Tin-tacks, gaffer tape and high-explosives - all in a day's work for the visual effects crew working wonders on a Doctor Who budget!

(Not)Alone is a documentary about the intellectual and ethical burden of war. At the center of the story is the work of the headquarters of the 4th Battalion "Syla Svobody" of the Brigade "Rubizh." Around the clock, they make decisions where every choice carries a human life: from complex logistical chains to direct combat management.

"(On the Quest for) Beograd Underground" is an independent documentary film in the form of a sequence of interviews with alternative artists from Serbia who have dedicated their lives to the creation of one (sub)culture, very rich in its nuances, yet very precarious in its existence. Numerous artists speak of their conceptions of the underground as a movement, a way of perceiving reality, a way of social engagement, and even a way of living. The specific socio-historical condition in the '90s resulted in intensive artistic activity as a response to the totalitarian regime. This film is a collection of the personal experiences of artists who were involved in the underground scene since the '90s until the first decade of the new millennium.

The film talks about the consequences of the journey that Aline Motta undertook in search of her roots and questions the sense of belonging to a place that might not acknowledge its seemingly evident kinship. It brings together Lagos in Nigeria, Cachoeira in Bahia, and the artist’s home town Rio de Janeiro in Brazil through the waters and bridges that connect the three cities and their common ancestral background.

Silvan Skrivanic was the last inhabitant of a remote island in the Adriatic Sea, but even the traces of his existence are gradually disappearing – whether in the memories of others or in a landscape ravaged by a harsh climate. With the fading shadows of the human soul, it is as if life itself is disappearing from the island, leaving behind only the wind, the skeletons of animals and the inscriptions on the walls that have lost their meaning for others.