Using images shot in Russia and Armenia from World War I to the 1930s and retrieved from a Soviet film archive, Gianikian and Ricci Lucchi constructed a meditative film about the status of Armenians as a people without a state. Inspired by the diary of Gianikian’s father, People, Years, Life uses rare footage depicting the region’s major historic events: the end of Tsarist Russia, violence in the Caucasus during World War I, the 1918 Armenian exodus from Azerbaijan. Gianikian and Ricci Lucchi’s treatment of the material manipulates the speed of the images, adds color and music, and magnifies various parts of the image, so that the movement of bodies across the frame begins to carry the weight of exile, mourning, dispossession.
A true Canadian iconoclast, acclaimed transgender country/electro-pop artist Rae Spoon revisits the stretches of rural Alberta that once constituted “home” and confronts memories of growing up queer in an abusive, evangelical household.
A portrait of a small Georgian village filmed across the seasons, that focuses on family intricacies and working the land in a timeless place of transience and refuge.
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her.
Having dedicated nearly four decades to chronicling the lives of Canada's First Nations, Alanis Obomsawin returns to the village where she was raised to tell her own people's history of prosperity, displacement, endurance, and revitalization.
The Real MASH traces the original stories and people that inspired the fictional feature film and TV series about Mobile Army Surgical Hospitals in the Korean War.
Taşkafa is a real dog and also a legend on the streets of Istanbul. John Berger begins Taşkafa’s story, reading from his novel, King, the story of the disappearance of a community told from a dog’s perspective.
Friends and admirers of iconoclastic film director Sam Fuller read from his memoirs in this unconventional documentary directed by Fuller's only child, Samantha.
The Los Angeles punk music scene circa 1980 is the focus of this film. With Alice Bag Band, Black Flag, Catholic Discipline, Circle Jerks, Fear, Germs, and X.
The boisterous good humor of Jurmala, the nickel-mine owner, is, if anything, only barely dented by the raging battles in Finland before, during and after World War Two.
Lakshya finds a bottle, which has Gangaram trapped in it who is his lookalike. He promises to make everything possible with the sand in the bottle, but once the sand is over he will be free to go.
Andreas, who is ten, has been brought up by his grandmother. When she dies, he removes a putto from the crucifix placed upon her, puts it in his mouth and does not speak again.
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