Made in collaboration with performer Yolanda Vidato, Water Ritual #1 examines Black women’s ongoing struggle for spiritual and psychological space through improvisational, symbolic acts. Shot in 16mm black-and-white, the film was made in an area of Watts that had been cleared to make way for the I-105 freeway, but ultimately abandoned. Though the film is set in contemporary L.A., at first sight, Milanda and her environs (burnt-out houses overgrown with weeds) might seem to be located in Africa or the Caribbean, or at some time in the past. Structured as an Africanist ritual for Barbara McCullough’s “participant-viewers,” the film addresses how conditions of poverty, exploitation and anger render the Los Angeles landscape not as the fabled promised land for Black migrants, but as both cause and emblem of Black desolation. (Jacqueline Stewart)
With "sealfies" and social media, a new tech-savvy generation of Inuit is wading into the world of activism, using humour and reason to confront aggressive animal rights vitriol and defend their traditional hunting practices.
Fourteen-year-old Jasmin longs to be near her biological mother, Eva. Following her mother’s release from prison, an excursion into the country together becomes a first test for the fledgling mother-daughter relationship.
An unpredictable documentary from a fascinating storyteller, Agnès Varda’s last film sheds light on her experience as a director, bringing a personal insight to what she calls "cine-writing," traveling from Rue Daguerre in Paris to Los Angeles and Beijing.
American citizens who are normally marginalized, forgotten and left to fend against toxic dumps and other violations, come to understand that the only way to survive and save their communities is to challenge the system head-on.
An educational documentary spanning two continents, opening up a much-needed debate about traditional African spiritual systems; their cosmologies, ideologies and underlying ethical principles.
12-year-old Mira is fascinated by her synchronized swimming trainer and tries to get closer to her, which quickly puts both of them in a situation that’s difficult to interpret.
John Dexter’s brilliant production, James Levine’s masterful conducting of the eclectic score, and a sensational cast come together to make this Kurt Weill–Bertolt Brecht masterpiece a riveting evening of music theater.
“I don’t drive, but I know people who’ll drive 100 metres to go to the shops. Our society is obsessed with the car, with coming and going, getting somewhere.
A remote stone house nestles peacefully on the edge of the Yorkshire moors. In the garden. Faith Armstrong describes the flowers and the late afternoon skies to Jack, her blind husband.
In the ravaged near-future, a savage motorcycle gang rules the road. Terrorizing innocent civilians while tearing up the streets, the ruthless gang laughs in the face of a police force hell-bent on stopping them.
