Are the face and voice mirrors of the soul? This documentary reveals in detail their impact on our immediate perception of others and recounts astonishing experiments on our psyche.
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The story of the documentary The Sorrow and the Pity (1971), directed by Marcel Ophüls, which caused a scandal in a France still traumatized by the German occupation during World War II, because it shattered the myth, cultivated by the followers of President Charles de Gaulle (1890-1970), of a united France that had supposedly stood firm in the face of the ruthless invaders.
Quiet towns across rural Australia are in the grip of an Ice epidemic. Major international drug cartels are working with local outlawed motorcycle gangs to push crystal meth to a captive market of children.
In New Jersey, the Good Grief community focuses on a holistic way of dealing with grief, where children can give in to rage in ‘the volcano room,' and say goodbye to a dying teddy bear patient in ‘the hospital room.
16-year-old Bella and Vipulan are part of a generation convinced its very future is in danger. Between climate change and the 6th mass extinction of wildlife, their world could well be inhabitable 50 years from now.
Filmmaker Roman Polanski and photographer Ryszard Horowitz meet in Kraków, Poland, where, strolling the streets, they share memories of their childhood and youth, the hardest days of their lives, when, during World War II, they met in the ghetto established by the Nazi occupiers.
A young woman guides a man through a mysterious forest. In his eyes, everything seems normal, until he comes across two women waiting for him in a macabre ritual.
Georgia’s former prime minister has found a unique hobby. He collects century-old trees, some as tall as 15-story buildings, from communities along the Georgian coast.
Gage and Hannah are a young couple making a new home off the coast of Florida. Their marriage has been rocky, but all of that changes when the new girl, Julie, moves in next door.
Mauve is the color palette Monet used to represent his wife Camille Doncieux on her deathbed. It's also the color palette of suffering and complex trauma; of visible and invisible bruises, from the female gaze.