La cara oculta del Mundial (2017)

Johnny Saxby es un joven granjero de Yorkshire que intenta evadirse de sus problemas con el alcohol y el sexo. Cuando llega al pueblo durante la primavera un inmigrante rumano para trabajar en la cría de ovejas, su visión de la vida cambiará de forma radical.

Años 30. Adaptación de la novela de John Steinbeck “De ratones y hombres” sobre la América de la Gran Depresión. Los protagonistas son dos amigos en paro, uno de ellos un retrasado mental, que son contratados para trabajar en un rancho.

Singapur, 1997: Los Lim son una familia acomodada de tres miembros – marido, mujer e hijo – que recibe a Teresa (Angeli Bayani), una mujer filipina que ha venido a la metrópolis a servir, al igual que muchas otras compartriotas suyas en busca de una vida mejor. Toda la familia tiene que adaptarse a la presencia de esta extranjera, que altera aún más su relación ya tensa. Sin embargo, Teresa y Jiale (Koh Jia Ler), el problemático chico al que cuida, pronto forman un vínculo fuerte y afectuoso, que se va desarrollando, dándole al chico una sensación de pertenencia en una familia que se desintegra poco a poco, mismo vínculo que se verá amenazado por la irrupción de elementos externos – una crisis financiera – e internos en la dinámica familiar que los cambiarán para siempre. Inspirada en hechos de la infancia de su director. (FILMAFFINITY)

Dentro de los campos de trabajo de Qatar, los trabajadores inmigrantes africanos y asiáticos que construyen las instalaciones de la Copa del Mundo de 2022 compiten en un torneo de fútbol propio: The Workers Cup

Nick Broomfield met Hsiao Hung Pai, a journalist who was working for the Guardian, when making his feature film 'Ghosts' (about the Morecambe Bay Chinese Cockle Pickers ). As an experiment and using the latest in undercover technology, Nick worked with Hsiao to make a Undercover film set in a Chinese brothel in Finchley. There are over 2000 'illegal' brothels in London,largely ignored by the police and the authorities, which employ 80% foreign nationals, mostly illegal, that are easily exploited by the brothel owners.

Soft boys by day, kings by night. The film follows a group of young Bulgarian Roma who come to Vienna looking for freedom and a quick buck. They sell their bodies as if that's all they had. What comforts them, so far from home, is the feeling of being together. But the nights are long and unpredictable.

When Umi and Dwipa left Indonesia to work in an Ontario greenhouse as part of Canada's Temporary Foreign Worker Program, they hoped the jobs would provide the opportunity and income for a better life. They didn't expect that fixers and false promises would lead to deception and exploitation. Sadly, their story is not uncommon. Min Sook Lee continues to speak truth to power with her commitment to providing a voice to the silenced, fulfilling documentary's capacity as a powerful tool for social change.

The film depicts the life of Najeeb Muhammad (Prithviraj), an Indian abused migrant worker, who was forced to survived in a desert to herd goats in Saudi Arabia.

Farewell Ferris Wheel explores how the U.S. Carnival industry fights to keep itself alive by legally employing Mexican migrant workers with the controversial H-2B guestworker visa.

This deeply human documentary examines the subject of environmental destruction, highlighting the impoverished migrant workers who are chopping down the Amazon rainforest to create charcoal for pig iron production used primarily in the automobile industry. The film examines the children and elders and their daily lives and work as they burn timber in igloo-looking huts, their bodies charred gray for $2 a day, struggling to survive.

When mobile nurse Esma finds one of her patients dead, the strictly timed schedule of her day is thrown off balance. Between professional ethics and family obligations, she is faced with a difficult decision.

Migranta tells the stories of Vicky, Betty and Lety, (three mothers who have come to Canada from Mexico as part of the federal government’s Seasonal Agricultural Worker Program) as they face calculated risks, difficult choices and harsh realities while navigating, work and life in Canada while being separated from families and communities they support.

The vege­ta­bles come from the garden behind the house, the fish comes out of a can, and money for bread is earned at the factory. It’s because of this money that they came here. Women from Turkey stand side-by-side with women form Meck­len­burg at the conveyor belt of a fish-proces­sing factory in Lübeck. Their hands are stained brown, the pungent smell of fish clings to them, and their arms and backs ache. If these jobs were done by men, machines would have been invented long ago to replace them. But female labour is cheap and the women do not complain. They have learned to work – and therein lies the source of their pride. (Source: https://www.artechock.de/film/text/filminfo/g/ge/gefubr.htm)

The beautiful and spoilt Yerusalem had a wonderful life in Paris as the wife of the Eritrean Ambassador. Due to political changes, her husband is arrested, and she has to run for her life, finding herself in a refugee shelter in south Tel Aviv, where nobody cares who she was. Even there, at the skirts of town, among the desperation and poverty, she does not give up and struggles with all her might to regain her former status. A torrid love affair with an affluent Israeli architect brings her closer to her target until she discovers that he will never leave his family, and that her fate is doomed.

In fremder Erde (In Foreign Soil) documents the Muslim traditions of burial in Turkey and Germany, but above all, the paths the dead take to return to Anatolian soil.