The Good Families (1973)

Em um mosteiro encravado nas montanhas do Norte de África, na década de 1990, oito monges franceses vivem em harmonia com seus irmãos muçulmanos. Quando uma equipe de trabalhadores estrangeiros é massacrada por um grupo islâmico, o terror instaura-se na região. - Ganhou o Grande Prêmio do Festival do Cannes em 2010. - Ganhou o Prêmio do Júri Ecumênico no Festival de Cannes 2010.

PK é uma comédia sobre um estranho na cidade, um alienígena, que faz perguntas que ninguém fez antes. Elas são inocentes, perguntas infantis, mas elas trazem respostas catastróficas. As pessoas que estão estabelecidas em seus caminhos por gerações, são forçados a reavaliar seu mundo quando o vê nos olhos inocentes de PK. No processo PK faz amigos leais e inimigos poderosos. Conserta vidas quebradas e irrita o sistema. A curiosidade infantil do PK transforma-se em uma odisseia espiritual para ele e milhões de outros. O filme é uma exploração ambiciosa e exclusivamente original de filosofias complexas. Ele também é um simples e humano conto de amor, risos e deixe estar. Finalmente, é uma saga sobre uma amizade entre estranhos de mundos separados.

Durante a Guerra da Argélia, em 1954, o professor Daru (Viggo Mortensen) fora recrutado para lutar pelo exército francês. Ele nasceu na Argélia, mas é de família espanhola. Sua identidade e nacionalidade são questionadas por argelinos e também por franceses. Daru não concorda com a guerra e se sente totalmente deslocado. A polícia questiona sua lealdade , acreditando que ele pode ser um traidor disfarçado.

Neige, divorciada e mãe de três crianças, visita regularmente Emir, seu avô argelino, que vive agora em um asilo para idosos. Ela adora e admira seu papel de alicerce da família, e como o homem que a criou e sobretudo a protegeu da atmosfera tóxica que marcava seu relacionamento com os pais. As relações entre os muitos parentes se complicam quando Emir morre, desencadeando uma tempestade familiar e uma profunda crise de identidade em Neige.

Pépé é um gangster de Paris que se esconde na Argélia. Após dois anos se escondendo, começa a sentir falta de sua liberdade, mesmo com poderes. Ao conhecer Gaby, sua vontade de voltar só aumenta, mas se voltar pode ser pego pelo detetive Slimane.

Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He chooses Camille Bliss as his subject of study and begins to visit her in prison for interviews. Camille became acquainted with trouble at a young age and justifies her actions by "fate-bets." She is currently in prison for allegedly murdering one of her lovers. As she tells Stanislas of her life and love affairs, his interest in her grows to more than just professional. Can he resist her charm?

Happily married with a daughter, Marc is a successful real estate agent in Aix-en-Provence. One day, he has an appointment with a woman to view a traditional country house. A few hours later, Marc finally puts a name to her face. It's Cathy, the girl he was in love with growing up in Oran, Algeria, in the last days of the French colonial regime. Marc hurries to her hotel. They spend the night together. Then she's gone again. And Marc's mother tells him Cathy never left Algeria. She was killed with her father in a bombing just before independence...

Described as “a nightmare version of Cheers” (POV Magazine) and “one of the most captivating Australian documentaries in recent memory” (Cinema Australia), HOTEL COOLGARDIE is a gripping portrait of outback Australia, as experienced by two ill-fated backpackers who find themselves the latest batch of “fresh meat” to work as barmaids in a remote mining town. Sometimes amusing, often confronting, the film has been applauded for its no-holds-barred, fly-on-the-wall storytelling, as it explores hot-button themes around misogyny and xenophobia via its depiction of two women attempting to adapt to living and working in a hyper-masculine, foreign environment.

Fred, George, Doug and Howie are quickly reaching middle-age. Three of them are married, only Fred is still a bachelor. They want something different than their ordinary marriages, children and TV-dinners. In secret, they get themselves an apartment with a beautiful young woman, Kathy, for romantic rendezvous. But Kathy does not tell them that she is a sociology student researching the sexual life of the white middle-class male.

Candlelight in Algeria is a 1944 British war film directed by George King and starring James Mason, Carla Lehmann and Raymond Lovell. This drama follows the exploits of Eisenhower's top aide, Mark Clark, and other important Allies as they journey to an important meeting held on Algeria's coast. The precise location of this vital secret gathering is upon a piece of film which must not fall into enemy hands

The star-crossed desert romance of a cloistered woman and a renegade monk.

What happens when western anthropologists descend on the Amazon and make one of the last unacculturated tribes in existence, the Yanomami, the most exhaustively filmed and studied tribe on the planet? Despite their "do no harm" creed and scientific aims, the small army of anthropologists that has studied the Yanomami since the 1960s has wreaked havoc among the tribe - and sparked a war within the anthropology community itself.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

Two deaf and dumb children. She is the daughter of an American Oil engineer. He is the son of an Algerian farmer. They meet and manage to communicate, transcending all the cultural barriers that separate them.

On an Algerian beach, kids splash about, sleep, squabble - and then suddenly go to war. And it’s neither Lord of the Flies nor La Guerre des boutons. In her first film, full of grace, Narimane Mari films this childish freefor- all closely, at the irregular pace of an imagination inspired by the highest form of reality, national History — actually, nothing less than the Algerian War of Independence. When their make-believe induces a general upheaval, we follow the flock of children as they stamp their feet up the stairs, invade houses, cross village squares, in a whirlwind of shouts and empty words. Time is stretched like in a dream, through a choreography of belligerent shadows or the night-time explosion of the cemetery, as so many warning signs of dangers to come.

Vencedor do prestigiado Palma de Ouro no Festival de Cannes em 1975, “Chronique Des Années De Braise” retrata a luta da Argélia pela independência do domínio colonial francês. A história segue a migração de um camponês de sua aldeia devastada pela seca à sua eventual participação com o movimento de resistência argelina, pouco antes da eclosão da Guerra de Independência da Argélia.

An old man about to die gives all his fortune to a young beggar he meets in an Arabian town. He takes him to his house (now the poor man's property) and he strongly advises him not to open one of the doors, the seventh door. "I could throw the key into the sea" says the young lad" No use, you'd dive to get it back". The young man is curious and he cannot resist temptation: he opens the forbidden door. A strange world is waiting for him where a girl, Leila, will be his guide .

Mounir Mekbek lives with his family in a small village in the heart of the Algerian countryside. Very proud and sure of himself, he has only one dream- to finally be appreciated by his fellow villagers. Screwing up his carefully maintained image is his headstrong, narcoleptic sister Rym who falls asleep anywhere and whom the village is convinced will end up a spinster. One evening, Mounir returns from town drunk and announces that he's found a suitor for his sister. The fake story snowballs and snowballs until the suitor morphs into a rich, blonde Australian. The village begins preparing for the wedding in earnest - but without a bridegroom in sight.

In Algiers in 1993, while the civil war is starting, Mrs Osmane's tenants have to endure her bad temper. Her husband left her and the fear to lose her respectability haunt her. The former member of the Resistance during the Independence War persists in controlling the slightest moves of the households rather than struggle against her own frustrations. Learning her daughter is in love, the possibility of finding herself alone will push her to the limit: The symbolical Mrs Osmane "harem" is about to collapse.