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.

Na cidade de Deli, os perigos da mudança climática são um problema do presente, não do futuro, para 30 milhões de habitantes lutando para sobreviver. Invisible Demons explora as consequências do crescimento econômico da Índia, capturando uma cidade em crise e nossas realidades climáticas coletivas.

Emilio tem 3 anos, tem síndrome de Down e está pronto para começar a escola. Este documentário narra os desafios que sua família enfrenta para incluí-lo no complexo sistema educacional americano, em busca de uma escola capaz de admiti-lo.

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.

Sitiado pelo câncer e perto do fim, o brilhante cineasta argentino-brasileiro Héctor Babenco (1946-2016) pede a Bárbara Paz, sua esposa, um último desejo: ser o protagonista de sua própria morte.

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.

Somi is pregnant with her second child. A girl, she hopes. Together with her husband she prepares for this new phase of their parenthood. It means that their son has to go to school, but as an ex-Naxalite that is tough to achieve in contemporary India, where people like them are third-rate citizens. They lack the certificates and an opaque bureaucratic process doesn't help. Directors Isabella Rinaldi, Cristina Hanes and Arya Rothe of the NoCut Film Collective concentrate on Somi's close family ties, painting a portrait of ex-Naxalites in India. Once, Somi and her husband were communist rebels fighting for the rights of Indian tribes. However, to safeguard their family's welfare, they surrendered to the government in exchange for marginal compensation and simple accommodation.

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.

Um olhar sobre a vida e o trabalho da advogada judia israelense Lea Tsemel, que representa prisioneiros políticos há quase 50 anos.

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.