Barbara Hin

This richly illustrated historical documentary investigates the mechanism of nationalist feelings that radicalise. It shows how fascism was on the rise even a decade before the founding of the NSB, due to a number of anti-democratic initiatives led by a millionaire with a predilection for one-legged women, a market vendor, a cleric, and an artist. Historians, writers and collectors of fascist curios reveal how an initially marginal and fragmented movement grew into a radical populist party.

Langfang, about 40 kilometers from Beijing, is one of the most air-polluted cities in China. But at the local environmental protection bureau, deputy chief Li and his assistant Hu are working hard to change this.

Afshin tiene 12 años y vive con su familia en las montañas de Chil Dokham. Es un sitio donde la violencia doméstica convive con las bombas, las sirenas y los cadáveres formando parte de su infancia. Su padre emigra a otro país y a partir de ese momento deja de ser un niño para convertirse en un adulto. Reaparece como conductor de autobús, con una doble personalidad. Por una parte, es un padre afable, y por otra, un conductor temerario. Ambas historias se entremezclan mostrando el retrato del alma de una ciudad agónica.

How do funky machismo and buddhism go together in one man? This music documentary takes you into the groove of Joseph Bowie and his Defunkt, a major innovator in the history of jazz funk.

Cyriaque Kouenou was forced to leave his country and fled to the Netherlands. Staying there he has now entered his fourth year on a surrealistic trip with no end in sight, with stopovers in a tent camp, an empty church, an old office building and a former prison. A no man's land where you are stuck after being told that you aren't allowed to stay but also can't be sent back.

A film about borders and border checkpoints, poetically following the people that come into contact with them - one way or another. Borders is about men and women dreaming of a better life in Europe and the high price they often have to pay for it - if they succeed at all. Without taking an immediate moral stance, the film follows the route that many immigrants take from the heart of Africa to the centre of Europe, stopping at each border: Nigeria, Niger, Burkina Faso, Mali, Senegal , Mauritania, Morocco, Spain, France, Belgium, and finally, the Netherlands.

This film is a playful and experimental film object. The images of several films by Johan van der Keuken are mounted in a rhythmic and circular way to emphasize the repetition and similarity of the gestures they give to see: the daily gestures of men and women at work, throughout the world.

In the person of To Sang, a Chinese-born photographer living and working in Amsterdam, JVDK has found his perfect counterpart and alter ego. To Sang's monumental, stagey portrait photos reach back toward painting, just as JVDK's carefully composed film images recall still photography. Like JDVK, To Sang works in close collaboration with his wife. As image-makers, both men gently but firmly impose their way of seeing on the world. "Although we laugh at first, in the end he is master of the situation," says JVDK about To Sang in Gieling's film.

"I am far away on a distant journey through my own city", filmmaker Johan van der Keuken says at the end of his four-hour portrait of Amsterdam. The city is presented as a place where people from all corners of the world live, who all exert their cultural influence on the life in the city. With a motor courier as his central figure, the filmmaker introduces the audience to birds of different feathers. We see diverse cultural expressions, like the house scene, the entry of St. Nicholas and a Ghanese mourning ritual. The binding factor in the film is the concept of 'travelling', in other words Amsterdam as a global village. The camera travels through the film in three ways: over land, over water (canals) and through the air.

Introduction to an extensive training program for everyone professionally involved in the process of film conservation and film restoration. The realization of this training program was initiated and coordinated by ECIPAR (Bologna-Italy) and the Cineteca del Comune di Bologna. It was produced in co-operation with eleven European film archives and film laboratories and co-financed by the FILM project - FORCE program of the European Community.