Yaël Bitton

Between 2002 and 2010, more than 10,000 civilians were killed by the Colombian army and thrown into mass graves—with the aim of demonstrating the success of the offensive against the FARC. Felipe Monroy offers a voice to the families of the victims of this unpunished state crime, thereby creating a heartrending film that stands against the worst crime of all: oblivion.

라훌 자인 감독은 먼 미래가 아닌 바로 지금 기후위기를 직면한 거대도시 델리를 통해 벼랑 끝에 있는 세상을 보여준다. 평범한 사람들의 강렬한 이미지와 이목을 끄는 기록은 살아남기 위해 고군분투하는 3천만 명의 델리 시민 중 일부의 삶을 직관적이고 실감 나게 보여준다. 명백하고 실재하는 기후 현실이라는 주제에 경험적이고 새로운 관점을 더하면서, 영화는 모두가 깨끗한 물과 공기를 공평하게 누릴 수 있는 세상을 꿈꾸는 우리의 소망을 자극하고 새로운 감각을 일깨운다.

As 3-year-old Emilio is ready to start school, his family finds itself cornered in the United States' most segregated education system - New York City public schools. Fighting for their son's right to an inclusive education - where Emilio and other children with disabilities would be taught alongside their classmates without disabilities - film director Olivier and his wife Hilda investigate the personal stories of students and their parents in the US. With children with disabilities worldwide less likely to attend school, these experiences expose just a handful of the widespread injustices currently taking place in the educational system and beyond for kids with disabilities. Forget Me Not reveals a path to a more inclusive society that starts with welcoming diversity in the classroom.

Mexico, March 2015. Carmen Aristegui, incorruptible journalist, has been fired from the radio station where she has worked for years. Supported by more than 18 million listeners, Carmen continues her fight. Her goal: raising awareness and fighting against misinformation. The film tells the story of this quest: difficult and dangerous, but essential to the health of democracy. A story in which resistance becomes a form of survival.

헥터 바벤코는 아르헨티나 출신이지만 브라질에서 주로 활동한 감독으로, 지난 2016년 사망했다. 이 다큐멘터리는 죽음을 직감한 바벤코가 아내이자 영화적 동반자인 바르바라 파스에게 연출을 부탁해 만든 것으로, 그의 모든 것을 담고 있다. 암 투병을 하면서 맞이했던 마지막 날들의 고통스러운 기록이 뼈대를 이루고, 그가 만든 영화에 관한 회고, 그와 함께했던 동지들에 대한 기억, 그리고 죽음에 대한 생각 등이 어우러진다. 이 영화는 한 감독의 일대기이자 한 인간의 상념을 기록한 유언장이며, 자신의 죽음에 관한 영화를 기획한 제작자의 마지막 걸작이다.

Origin of the Species is an experimental documentary that explores the current climate of android development with a focus on human/machine relations, gender and the ethical implications of this research. The film provides an insider look into cutting edge laboratories in Japan and the USA where scientists attempt to make robots move, speak and look human. These scientists and their discoveries are contextualized with cinematic and pop culture references, to underline the mythic, comic and uncanny aspects of our aspiration to create machines that are eerily similar to ourselves.

인도의 근현대사 중 우리에게 잘 알려지지 않은 사실은 ‘낙살라이트 (Naxalite)’란 이름의 공산주의 무장 투쟁이 지금까지 이어지고 있다는 점이다. 감독은 과거 이 투쟁에 몸 담았던 어느 부부와 어린 자녀들의 평범한 듯 예외적인 삶을 통해 자본주의와 제국주의가 인도 사회에 어떤 상처를 남겼는지, 그리고 이 상처가 왜 아직 아물지 않는지 차분하고 정적인 리듬으로 보여준다. 노골적인 차별 정책으로 아이를 학교에 보낼 수 없는 부모의 막막한 심정, 자신들의 과거를 씁쓸하게 곱씹는 옛 투사의 굽은 어깨, 그러면서 지금도 세상이 바뀌어야 한다고 조심스럽게 말하는 주인공의 표정을 보는 사이 관객 또한 영화가 끝나도 쉽게 사라지지 않을 고민거리를 안게 될 것이다.

A chronological selection from choreographies by Jérôme Bel exploring the political aspects of his dance.

D'Angelo had it all: two platinum selling albums, a sold out world tour and a body chiselled to perfection. However, one day at the height of his career in 2000 the soul singer vanished. For 12 years he descended into darkness. Out of nowhere, in December 2014, his third album Black Messiah was suddenly released: soundtrack of the lost years.

Viviana and Yandris weave red and yellow yarn into bags. In the distance we hear the hammering of machines, the wail of sirens and the thunder of explosions.

Lea Tsemel, a Jewish-Israeli lawyer, defends Palestinians: from feminists to fundamentalists, from nonviolent demonstrators to armed militants. As far as most Israelis are concerned, she defends the indefensible. As far as Palestinians are concerned, she’s more than an attorney, she’s an ally. «Advocate» follows Tsemel in real time, including the trial of a 13-year-old boy — her youngest client to date.

This portrayal of the rhythm of life and work in a gigantic textile factory in Gujarat, India, moves through the corridors and bowels of the enormously disorienting structure—taking the viewer on a journey of dehumanizing physical labor and intense hardship.

After the death of her grandmother, filmmaker Juliana Fanjul has to return to Mexico City, where she realizes how unfair is the relationship between housemaids and their employees.

During casting sessions, young women from Copenhagen talk candidly about their sexual experiences. Initially, the two female directors wanted to make a film as a way of better understanding their own sexual desires and frustrations. In response to a casting call, more than a hundred ordinary young women turned up and talked straight into the camera about their erotic fantasies. As shooting progressed, the filmmakers realized that these intimate casting sessions should in fact be the final film.