Erin Casper

Katia y Maurice Krafft amaban dos cosas: el uno al otro y los volcanes. Durante dos décadas, esta atrevida pareja de vulcanólogos franceses se dejó seducir por la emoción y el peligro de este elemental triángulo amoroso. Recorrieron el planeta, persiguiendo las erupciones y sus consecuencias, documentando sus descubrimientos en impresionantes fotografías y películas para compartirlos con un público cada vez más curioso a través de intervenciones en los medios de comunicación y giras de conferencias.

Katia y Maurice Krafft amaban dos cosas: el uno al otro y los volcanes. Durante dos décadas, esta atrevida pareja de vulcanólogos franceses se dejó seducir por la emoción y el peligro de este elemental triángulo amoroso. Recorrieron el planeta, persiguiendo las erupciones y sus consecuencias, documentando sus descubrimientos en impresionantes fotografías y películas para compartirlos con un público cada vez más curioso a través de intervenciones en los medios de comunicación y giras de conferencias.

Únase a la ex primera dama Michelle Obama en un documental íntimo que analiza su vida, esperanzas y conexión con los demás mientras gira con "Becoming".

A magic realist fable about invisible elves, financial collapse and the surprising power of belief, told through the story of an Icelandic woman - a real life Lorax who speaks on behalf of nature under threat.

In 2016, transgender teen Gavin Grimm sued his local school board after its members refused to let him use the bathroom of his choice. He was ready to take his case all the way to the Supreme Court—and then the election happened.

Capturing the story of WikiLeaks founder Julian Assange with unprecedented access, director Laura Poitras finds herself caught between the motives and contradictions of Assange and his inner circle in a documentary portrait of power, betrayal, truth and sacrifice.

In international political conflict, deals are not brokered by national leaders but by “backroom players” who are hidden from the spotlight. Enter Padraig O’Malley, recovering alcoholic and negotiator of peace. An excellent mediator, the only person whose trauma he cannot alleviate is his own. Filmmaker James Demo expertly merges the public and private personas of an extraordinary man.

Alex, a travel-worn survivor in a desolate world, returns to his childhood home to find not only artifacts of his youth, but also the plague-ridden body of his recently deceased father.

Alex, a travel-worn survivor in a desolate world, returns to his childhood home to find not only artifacts of his youth, but also the plague-ridden body of his recently deceased father.

In 1999, filmmakers Joe Brewster and Michèle Stephenson turned the camera on themselves and began filming their five-year-old son, Idris, and his best friend, Seun, as they started kindergarten at the prestigious Dalton School just as the private institution was committing to diversify its student body. Their cameras continued to follow both families for another 12 years as the paths of the two boys diverged—one continued private school while the other pursued a very different route through the public education system.

The New Black is a documentary that tells the story of how the African-American community is grappling with the gay rights issue in light of the recent gay marriage movement and the fight over civil rights. The film documents activists, families and clergy on both sides of the campaign to legalize gay marriage and examines homophobia in the black community's institutional pillar-the black church and reveals the Christian right wing's strategy of exploiting this phenomenon in order to pursue an anti-gay political agenda. The New Black takes viewers into the pews and onto the streets and provides a seat at the kitchen table as it tells the story of the historic fight to win marriage equality in Maryland and charts the evolution of this divisive issue within the black community.

After a thief breaks into Roy's home, he buys a handgun for protection. But the gun's power is seductive and Roy's obsession with it suggests he doesn't have the control he thinks he has.